General Course Listing
DFG-5010 / DFG-5015
Cinematography and Sound I and II
Two semesters: 3 credits per semester
Success in the film industry requires fluency in the cinematic language and an immersion in the world of production techniques. Beginning with the use of images and sound as the tools of storytelling, these courses will focus on gaining a comprehensive grasp of the technical demands of filmmaking. Through hands-on and lecture sessions, a range of equipment—cameras, tripods, lights , audio recorders, microphones—will be explored. Students will also learn how to use camera angles, sound and lighting to convey meaning, thereby furthering their stories. Students will benefit from the aesthetics and vantage points represented by the several faculty members who co-teach these courses.
DFG-5020 / DFG-5025
Camera and Sound Lab I and II
Two semesters: no credit
These labs are taken in conjunction with DFG-5010/DFG-5015, Cinematography and Sound I and II. They give students an opportunity for hands-on training with camera and sound equipment that is vital for professional-level filmmaking.
DFG-5040 / DFG-5045
Directing I and II
Two semesters: 3 credits per semester
The strength of a documentary relies on the instincts of the director, who must be able to translate intellectual content into an aesthetic experience. These courses will address topics that include how to most effectively tell a story, how to conduct meaningful and informative interviews, and how to navigate the relationship between subject and filmmaker. With an emphasis on originality as it applies to the documentary, students will explore new mediums and a variety of directing styles and techniques. Extensive study of documentary film history and theory will examine a wide range of texts and films from the early 20th century to the present.
DFG-5070 / DFG-5075
Editing I and II
Two semesters: 3 credits per semester
If filmmaking is understood to be an interpretive process, then the editor’s work is to transform the footage from observation to an engrossing experience. These courses will examine the critical role that editing plays in nonfiction filmmaking, and look at how the editing room becomes the arena where the structure and narrative arc are created. Documentaries will be screened to provide students with a fundamental understanding of editing styles, aesthetics and techniques. Topics will cover a wide range of subjects—from continuity of motion to montage, jump-cut, music use and program structure. Finally, this course will explore voice-over narration, sound design, music and other postproduction techniques to further the story and deepen the experience.
DFG-5080 / DFG-5085
Editing Lab I and II
Two semesters: no credit
These labs must be taken in conjunction with DFG-5070/ DFG-5075, Editing I and II. They are designed to give students an opportunity for hands-on training in Avid Media Composer and other essential tools for nonlinear film editing.
DFG-5140
Producing I
One semester: 3 credits
Multifunctional and multidimensional in approach, the role of a producer is to initiate, coordinate, supervise and control all matters in the realization of a film project, such as fundraising and hiring key personnel. This course will cover key aspects of documentary production from pitch and budget preparation to production set-up, crew management and postproduction workflow. Students will learn how to analyze a project and apply this analysis in cost and project management, from preproduction rights to editing and film distribution.
DFG-5145
Producing II
One semester: 3 credits
This is the second part of a two-semester course. The spring semester will focus on the practical experience of creating a written body of work in preparation of the thesis film. Topics will include archival research, production management, budgeting and story producing.
DFG-5240
Visionary Journalism I
One semester: 3 credits
From finding and researching a story to writing a treatment and a shooting script, understanding the ever-evolving ethics involved in documentary filmmaking and the established journalistic practices are of primary importance. This course will give a broad understanding of the ethical standards inherent in journalism and nonfiction writing as they relate to documentary filmmaking. Working within these structures, we will approach how to successfully tell a story—from origin of concept to finished product.
DFG-5250
Visionary Journalism II
One semester: 3 credits
Building upon the journalistic industry standards examined in DFG-5240, Visionary Journalism I, this course will delve deeper into ideas of documentary filmmaker vs. journalist and matters of artistry, ethics and journalistic integrity.
DFG-5520 / DFG-5525
Process and Style I and II
Two semesters: no credit
In this screening and lecture series, independent voices from the field will screen their new films and series, sharing their professional experiences and offering diverse perspectives in documentary film. Lecturers will discuss a range of specialized topics, including: new technologies and new platforms, film festivals and distribution, the relationship between subject and filmmaker, film production, the pitch, international production, job opportunities, career advancement.
DFG-5700
Thesis: The Pitch
One semester: no credit
Getting an idea off the ground and maintaining the momentum is often one of the most difficult facets of a production, even for talented filmmakers. Yet without the proverbial green light, the best ideas fall to the wayside. Individual meetings with a faculty panel are designed to allow students the opportunity to practice one of the most important skills in the filmmaking process—the pitch. Using their own project ideas, students will articulate their vision clearly and concisely and deliver this vision to a panel of film industry professionals. Students will answer questions and address comments posed by the panel. The course objective is to arrive at the final thesis production topic.
DFG-6120 / DFG-6125
Process and Style III and IV
Two semesters: no credit
In this screening and lecture series, independent voices from the field will screen their new films and series, sharing their professional experiences and offering diverse perspectives in documentary film. Lecturers will discuss a range of specialized topics, including: new technologies and new platforms, film festivals and distribution, the relationship between subject and filmmaker, film production, the pitch, international production, job opportunities, career advancement.
DFG 6260
Visiting Artists: Documentary Masters
One semester: 3 credits
To help forge relationships between the masters of documentary film and MFA SocDoc students, these seminars offer in-depth study and discussion of the craft of documentary storytelling. Seminar topics include creative producing, one-person-crew technique, and the contemporary history of the medium. The series covers contemporary practices, changes in the field, and the other areas of each instructor’s expertise.
DFG-6520
Thesis: Directing
One semester: 3 credits
This course will guide students through the process of bringing their thesis ideas to fruition after a summer of filming. Of central focus will be the aesthetic and overall style considerations for thesis films. Emphasis will also be placed on the student-director’s continued filmmaking process, leading to a work sample that shows the positive development of the thesis film.
DFG-6530
Thesis: Directing Lab
Spring semester: 6 credits
Bolstered by critiques of professional film directors and fellow classmates, students will gain additional insights and the technical resources to develop their thesis films. Directors’ cuts of thesis films will be screened and analyzed, and students will have the opportunity to incorporate valuable suggestions into their final work.
DFG-6570
Thesis: Editing
One semester: 3 credits
On average, there are 10 hours of footage shot for every minute of a final film. This course will address the challenge of managing the sheer bulk of media that will have been amassed for the thesis film. While filming may continue throughout much of this period, students will be required to block out the basic sequence from what has already been filmed, and hew the narrative together into a film trailer and eventually into a rough cut. The goal is to bring projects into readiness for fine-tuning and completion in the spring semester.
DFG-6580
Thesis: Editing Lab
One semester: 6 credits
This course will further develop each student’s thesis story, leading to a satisfactory fine cut of a film at the end of the semester. The lab will be supervised by a professional editor, under whose guidance students will strengthen their editorial acumen while completing their thesis films.
DFG-6610
Thesis: Producing
One semester: 6 credits
Half of producing is getting the film made; the second half is getting the film seen. This course will focus on film marketing and distribution. It will build upon previous producing classes to strengthen skills for conceiving and pitching ideas, executing projects on budget and finding the most advantageous position in the marketplace. From understanding the rights division for theatrical, television, VOD, streaming and international exhibition to crowd funding and film festivals, the course will round out what students need to know to get their thesis films out into the world.
DFG-6900
Thesis: Review and Presentation
One semester: 3 credits
During the final semester, students will present their thesis projects to the department chair and faculty advisors for review, advice and critique.
DFG-6950
Thesis Extension
One semester: 3 credits
This course is designed for students who need an additional semester to complete their projects. Students will have access to all facilities, receive critique from faculty and continue to work with their thesis advisor.
