Boston University: Film & TV

Para inscribirse en unas Summer Sessions en Boston University, debes seleccionar 1 o 2 cursos de Summer Sessions. A continuación puedes ver todos los cursos del área Film & TV; contenido y horario.

Recomendamos:
1.- Ver en que sesión (fechas y duración) se imparte cada uno de los cursos de esta área.
2.- Cuando sepas los cursos que más te interesan comprueba el horario para que no se solapen entre ellos.

DURACIÓN       FECHAS                                  SESSION
6 semanas        Mayo 22 – Junio 29                  Session 1
6 semanas        Julio 2 – Agosto 10                  Session 2

REQUISITOS:  Nivel de inglés avanzado

Cursos de Film and TV: 

Precios
CURSO Y ALOJAMIENTO		DURACIÓN		FECHAS		PRECIO
Summer Session		6 semanas.		Jul 2 - Ago 10 // May 22 - Jun 29		Desde 4.865,00 €

FILM & TV

History of Television

Examines the ways in which industrial factors and communication policies have shaped the medium that sits in 99% of U.S. homes. Begins by examining television's roots in radio. The remainder of the course is broken down into three stages of television history advanced by Rogers, Epstein and Reeves (2002). The first category is TVI- the period of three-network dominance. The next stage, TVII, is characterized by the rise of cable television and the decentering of the three networks. The course concludes by considering the current stage of television- TV III- in which the era of "on demand" has further destabilized traditional notions of content, audiences, producers, scheduling and technologies. In addition to tracing this development historically and thematically, we confront it critically, analyzing the connections between power and money in the medium of television. 4 cr.

Summer 2 (July 5-August 11):

Tues./Thurs. 5:30-9 pm
Deborah J.
 

Media in Evolution

Examines the business of entertainment media industries. History, structure, business models, regulatory and social issues are discussed. Provides an assessment of the emergence of new media businesses, and how technologies that offer many new content distribution options are changing the definition of traditional media. 4 cr.

Summer 1 (May 24-June 30):

Tues./Thurs. 10 am-1:30 pm
Cathy Perron Eaton

Storytelling for Film and Television

Required of all students in the Film Program. An introduction to the principles of screenwriting; proper use of film form; creation of characters and narrative in writing the short film. 4 cr.

Summer 1 (May 25-June 29):

Mon./Wed. 10 am-1:30 pm
John Bernstein

Summer 2 (July 6-August 10):

Mon./Wed. 10 am-1:30 pm
John Bernstein

Creative Producing

Required of all students in the Television Program. An introductory course that takes the student through the various stages of production, beginning with concept and ending with full-fledged, camera-ready proposals. Students are introduced to issues of finance, scheduling and organization; they learn to keep budget and concept on track. May be taken sophomore year. 4 cr.

Summer 1 (May 25-June 29):

Mon./Wed. 2-5:30 pm
Garland Waller

Production 1

An intensive course in all the fundamental aspects of motion picture production. Students learn to use cameras, sound recording equipment and editing software and then apply these skills to several short productions. The course emphasizes the language of visual storytelling and the creative interplay of sound and image. 4 cr.

Summer 1 (May 25-June 29):

Mon./Wed. 1:30-5 pm
Geoffrey Poister

Writing Episodic Drama

Studies the process and techniques of writing a dramatic series for commercial network and cable television. 4 cr.

Summer 1 (May 25-June 29):

Mon./Wed. 10 am-1:30 pm
Paul Schneider

Writing the Situation Comedy

Intensive exploration in the key elements of the sitcom; character development, story structure, pitching, formats, writing, and polishing. Successful participants will have a completed "spec" script for the current television market. 4 cr.

Summer 2 (July 5-August 11):

Tues./Thurs. 1-4:30 pm
Paul Schneider

Screenwriting Institute - Intensive Professional Screenwriting Program

An intensive 11-week professional screenwriting course where students master the essential elements of a superior screenplay, design a full-length screenplay and write scenes in a supportive, creative environment and learn the business of screenwriting. Selected screenplays written in class will have the opportunity of being considered by Hollywood companies. This course is open to students with a bachelors degree or higher, or with permission from the Screenwriting Program. 8 cr.

Eleven-week course (May 24-August 4):

Tues./Thurs. 5:30-9:30 pm
Scott Thompson

Film Production 1

A practical, hands-on introduction to film production techniques. Using 16mm cameras, each student is given an opportunity to write, produce, direct, shoot and edit a series of short (three to seven minute) nonsynchronous films. This course provides a rigorous introduction to the essence of film language and narrative structure across genres. Students are expected to pay for all film stock and production costs; the department provides the equipment. 4 cr.

Summer 2 (July 5-August 11):

Tues./Thurs. 10 am-1:30 pm
Jan Egleson

Special Topic: The Film of Joel and Ethan Coen

Like many "postmodern" artists, the output of Joel and Ethan Coen can best be understood by surrounding it with its multiple influences. This course examines the Coens’ work as well as the films they’ve borrowed from. Beginning with their rise as the face of Independent American cinema in 1984 with Blood Simple, to their more recent success with No Country for Old Men, the course examines the texts—books, films, and otherwise—which help these brothers create their distinctive style. Films examined include Blood Simple, Raising Arizona, Barton Fink, Miller’s Crossing, Hudsucker Proxy, Fargo, The Big Lebowski, O Brother Where Art Thou, The Man Who Wasn’t There, No Country for Old Men, Sullivans Travels, The Godfather, and screwball comedies of Cukor, Capra, and others. 4 cr.

Summer 1 (May 24-June 30):

Tues./Thurs. 1-4:30 pm
Robert R.

Special Topic: The Gangster Film

Explores classic gangster films and modern gangster films that complicate the genre’s conventions. Discusses the genre’s roots, such as its depiction of a violent alternative to the American Dream amid the Great Depression. Also examines how the gangster film has evolved, due to censorship forces, larger social changes and our desire for vicarious violence. The course pairs up key films, such as the two versions of Scarface; Public Enemy and Public Enemies; Gun Crazy and Bonnie and Clyde; G-Men and Donnie Brasco; Goodfellas and American Gangster; Shoot the Piano Player and Gomorrah. 4 cr.

Summer 2 (July 5-August 11):

Tues./Thurs. 5:30-9 pm
John Hall

Special Topic: The Hollywood Blockbuster

Traces the emergence of the modern blockbuster as an economic and socio-cultural phenomenon. Part of the course traces the history of big scale movie-making, touching on historical examples such as the biblical epic, the disaster film, the adventure film, and the rebirth of the space opera. A second part investigates key phenomena such as the concepts of franchising, branding, film genre, and narrative, discussing examples of the past decade (including the Star Wars prequels, the Lord of the Rings, and Harry Potter). Finally, taking advantage of the seasonal offerings, the course investigates very recent and ultra-contemporary blockbusters of summer 2011. 4 cr.

Summer 1 (May 25-June 29):

Mon./Wed. 5-9 pm
Roy Grundmann

Special Topic: The Film of Danny Boyle

Danny Boyle is exemplary of the new wave of British directors who came of age in the early 1990s and have roared to success in a newly globalized enterntainment scene. This course reviews Boyle’s career from his early TV films to his British and international cult films and his global blockbusters. Films include the cult thriller “Shallow Grave,” the stylistically groundbreaking portrayal of the urban drug scene “Trainspotting,” the sleeper sci-fi success “28 Days Later,” the global blockbuster phenomenon “Slumdog Millionaire,” and the recent hiker drama, “127 Hours.” 4 cr.

Summer 2 (July 6-August 10):

Mon./Wed. 5-9 pm
Roy Grundmann

The Documentary

Surveys the evolution of the documentary genre from the 1920s to the present. Through regular screenings, students witness the spectrum of styles and voices in non-fiction filmmaking. The goal is to gain a sense of the documentary tradition while focusing more intently on contemporary styles that employ humor, imagination, personal perspectives, and unusual stories and structures. To develop professional skills, students also write a proposal for a documentary project of their own. 4 cr.

Summer 2 (July 6-August 10):

Mon./Wed. 1:30-5 pm
Geoffrey Poister

Media in Evolution

Examines the business of entertainment media industries. History, structure, business models, regulatory and social issues are discussed. Provides an assessment of the emergence of new media businesses, and how technologies that offer many new content distribution options are changing the definition of traditional media. 4 cr.

Summer 1 (May 24-June 30):

Tues./Thurs. 10 am-1:30 pm
Cathy Perron Eaton
 

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