S.89-45

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SIMON FRASER UNIVERSITY

MEMORANDUM

To: ?

Senate

Subject:

?

Centre for the Arts -

Curriculum Revisions

Reference: SCUS 89-26

SCAP 89-30(a)

From: ?

L. Salter

Chair, SCAP

Date: ?

November 9, 1989

Action undertaken by the Senate Committee on Academic Planning/Senate Committee on

Undergraduate Studies gives rise to the following motion:

Motion 1:

"That Senate approve and recommend approval to the Board of Governors

as set forth in S.89-45 the proposed Major in Film Production including

. New courses FPA233-2

FPA236-3

EPA 237-3

FPA331-5

FPA338-3

EPA 339-3

FPA393-3

EPA 431-5

Deletion of FPA 334 - 3

FPA431-5

EPA 433-5

Motion 2:

The Techniques of Film

Cinema in Canada

Selected Topics in Film/Video Studies

Filmmaking Ill

Advanced Screenwriting

Directing Actors for Film

Techniques of Video

Group Project in Film

Film Analysis

Experimental Film Production I

Experimental Film Production II"

"That Senate approve and recommend approval to the Board of Governors

as set forth in S.89-45 the curriculum revisions including

New courses

FPA 171 -3 Introduction to Production Management

FPA 270 - 3 Technical Theatre"

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OFFICE OF

THE DEAN

SIMON FRASER UNIVERSITY

CENTRE FOR THE ARTS

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OCT -1188

MEMORANDUM

FACULTY OF ARTS

To: DR. ELLEN GEE

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From: GRANT STRATE

CHAIR, FACULTY OF ARTS

?

DIRECTOR

CURRICULU:M COMMITTEE

Re: CENTRE FOR THE ARTS

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Date: August

30,

1989

CURRICULAR SUBMISSIONS

The packet of curricular proposals from the Centre for the Arts presented

before your Committee warrants some general statements in regard to the

Centres history, its present position and its plans for the future. It may

seem foolhardy to he sending a proposal for a film major up the pipe

simu!aneous1y with a proposal for an interdisciplinary MFA graduate degree

program alread

y

approved by the graduate committee. I am sure that much

of the university community still shares the perception that the Centre for

(he Arts Could not possibly have recovered from the extreme budget cuts of

984, hut recover it has and in no small measure due to the resourcefulness

of it faculty and the good management of its support staff. I am personally

extremel

y

proudof the Centres rise from the ashes, the good relations it

now enjo

y

s within the academic family at SF1.1 and the reputation it has

gained nationally and internationally. In my estimation it is on the brink of

becoming one of the most productive and respected fine and performing arts

programs in North America.

For those who might conclude from these new proposals that the Centre has

changed directions I would remind them that retrenchment planning after

the budget cuts did not constitute a final solution. Curricular changes made

at that time guaranteed survival and continued integrity. They did not

completely satisfy an ideal growth pattern although they did strengthen our

continuing commitment to interdisciplinary arts engagement. In fact, the

extreme changes made in 1985 necessitated a number of changes in

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subsequent years

:

to bring the Centre back to a more satisfactory pattern of

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courses and studies.

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It. must be remembered that the Centre for the Arts functions as a

mini- ?

0

Faculty. Each of the disciplines has differing needs and different pedagogical

conventions. Each area was compelled to realign priorities and consider how

best to achieve new objectives over a period of time. The major proposal for

film is a logical result of that process, and consolidate previous

achievements, for the most part.

1 am fully aware that all of the committees through which this proposal must

stream will he very concerned about resources and will be skeptical about

assertions that additional resources are not required. So let me say out front

that the film program does need more equipment to fully realize a major

study of the quality we eventually wish to have, although we can commence

now with present resources. The reality we face is that if material support is

insufficient we cannot introduce the film major, but we assume the initiative

[or funding some of these resources. Our record in this regard is pretty good

and perhaps that is the one attribute of the Centre for the Arts for which we

can thank the budget cuts of 1984. ?

0

Since the advent of the Praxis Film Development Workshop, made possible

through B.C. Funds for Excellence in Education and now a part of the

University's base budget, the film program has benefitted substantially and

will continue to receive additional funds. An annual amount of

approximately

$50,000 is dedicated to the support of the undergraduate

program in reasonable recognition of its symbiotic relationship to Praxis.

A most recent development is the establishment of the Centre for Image and

Sound Research, a project of the Centre for the Arts, serving the research

interests of cultural and entertainment industries, governments and this

University. Although the Centre for the Arts is the sponsoring department,

CI&SR is a joint venture involving the departments of Engineering Sciences

and Communication. As I see it, the profile of our film undergraduate

program has been greatly enhanced by this national research centre. The

film program already enjoys an excellent reputation, and. given. these new

circumstances it seems ludicrous not to offer a major program. The

J uxtaposition of the CI&SR and Praxis puts us at the forefront of cultural

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research in Canada. It is time to bring our academic studies into a closer

balance with our professional successes. The Centre for the Arts has no

g

raduate program to accommodate the calibre the students being prepared.

CL&SR will bring with it a well equipped plant and professional connections

that will indirectly assist our academic programs although it is established as

an autonomous unit to be used only for research. Obviously, CI&SR will

benefit graduate istudents working with cultural technologies more directly.

But the prospect of contributions of equipment to the undergraduate

program of film is much greater through the work being done at CI&SR with

and for suppliers; of cultural equipment.

I have already said that the film program has been developing its curricula

over the past sevral years and that there has been continued growth

despite what was seen as a critical setback in 1984.

In fact no faculty were

sacril iced at that time.

At the time of the budget cuts the film area was comprised of one tenure

track faculty, one visiting faculty, one laboratory instructor, a production

assistant and a fa

p

ilities manager. There were also several sessional

instructors involved who were mostly professionals working in the field.

The visiting position was later converted to tenure track and later still a

visiting position was added. In other words, the program is considerably

stronger now than it was five years ago and very few sessional instructors

are required to mount the major. Of course. we anticipate new positions

sometime in the thture but for now we all believe that a major can be

introduced with integrity.

Another point should be made here. In 1984 the Centre for the Arts had

only one full professor in its ranks. Today there are five, and this represents

a considerable strengthening of the academic family and a greatly enhanced

teaching potential.

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The Centre is strong enough for a return to the five year plan crafted in

1 981. It called for majors in all of the disciplines. At that time, Dance was

the onl

y

major degree program. The Visual Art Major was approved by

3.

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UCBC in 1982, and finally instituted last year by a cooperative plan entered

into with The Emily Carr College of Art and Design. The FPA

interdisciplinar y

BA was also on the books in 1984 and, as mentioned, this

became the key to survival after the budget cuts. Now Film seeks

a

major

degree and next in line will most certainly be Music, followed by Theatre.

The Centre will then have reached academic maturity with all majors in

place and the inauguration of the interdisciplinary graduate MFA degree.

This, in essence, is what the five year plan of many years ago proposed. It is

my strong belief that these elements are essential to the academic and

artistic excellence of the entire unit and that the Centre for the Arts has now

reached the degree of experience and maturity to justify the introduction of

major degree programs in all its disciplines

and

the establishment of a

graduate program.

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FILM MAJOR PROPOSAL

Table of Contents

S

Page

Summary of the Proposed Film Major

3

List of Film Course Offerings

3

Background of the Film Area in the Centre for the Arts

Resources Required for the Major:

5

Financial

6

Faculty

7

Requirements

7

Nature of the Program

Summary of Course Changes:

9

New Course Numbering System

9

Courses to be Dropped

10

Courses to be Added

10

Course Changes

Calendar Entry:

11

The Film Major

13

The FPA Major with a Concentration in Film

14

Course Descriptions: New Courses

16

1 Course Descriptions: Changes

Appendix A: New Course Outlines:

FPA

233-2

The Techniques of Film ?

2

36 -3

Cinema in Canada

2

3 7 -3

Selected Topics in Film/Video Studies

331-5

Filmmaking III

338-3

Advanced ScreenwritAng

339-3

Directing Actors for Film

393-3

Techniques of Video

431-5

Group Project in Film

Appendix B: Course Loading - Faculty

Appendix C: Course Streaming - Students

Appndix D: Equipment Request•

Appendix E: Film Programs at other Universities

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Proposal for a Major in Film Production

?

(Revised

28

August 1989)

I. Summary of the Proposed Major

The

Centre

for the Arts presently offers a Concentration in Film within a

Fine and Performing Arts Major. Requirements

for

the Concentration consist of a

mixture of courses in film studies (history, critical studies and theory); film

production .

: video production; and lower-division breadth requirements within

the Centre for

the

Arts. Minimum Film requirements in the present

Ci::.incentrat.ion are 15 credits in Lower Division, 17 credits in Upper Division.

Recent additions to the faculty and new resources in the Film Area enable

us to put forward a proposal for a Film Major to be introduced in the academic

year 19 9 0 - 9

1.

Like

the present Concentration, the Major will consist of a

balanced pro

g

ram of creative, technical, and analytical studies within the

interdisciplinary context of the Centre for the Arts. The primary focus of the

Major will be on film production, with partial streams in video and film studies.

These may be

.

c:onie full Major

options

in the future if demand and resources

permit..

Over the years

of

restraint we have made many adjustments to our

curriculum, trying to accommodate the needs of the students within our

reduced program. As resources have increased we have added new courses and

modified others. The Film Major proposed here represents a revamping of our

program in order to provide coherence and stability to an area that has been in

flux for the last several years. Although it may seem like a considerable

expansion of the existing film program, with a net addition of live courses, it is

really the logical culmination of the adjustments already made. We are

allocating our resources more efficiently, and creating new courses from

.e1ected Topics offerings that have been regularly taught during the past few

years. Although we would benefit greatly from new resources, the proposed

pr o

gram is one that can be offered with existing faculty, space and equipment,

with plans for modest future expansion if and when it is considered

ippn':pri;ite

The Concentration will be maintained but reorganized and reduced in

requirements as outlined below (see Calendar Entry).

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FILM COURSES (proposed and existing)

FPA

136-3

The History & Aesthetics of Cinema I

137-3

The History & Aesthetics of Cinema II

230-5

(1345)*

Fundamentals of Film

231-3

(230-5)

Filmmaking I

2

33- 2

The Techniques of Film

2

36-3**

Cinema in Canada

2

3

7

-3**

Selected Topics in Film/Video Studies

238-3 (332-5)

Introduction to Screenwriting

33 0 -5 (33

0 -3)

Filmmaking II

33 1 -5**

Filmmaking III

333-3 (33

1 -3)

Advanced Cinematography & Lighting

335-3 (

2

3 4

-3)

Introduction to Film Theory

337-3 (3393)

Intermediate Selected Topics in Film and Video

I

Studies

338-3

Advanced Screenwriting

339...3**

Directing Actors for Film and Video

390-5 (233

L

5)

Introduction to Video Production

393...3**

The Techniques of Video

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430-5

Filmmaking IV

4

3

1 -5 **

Group Project in Film and Video

432-5

Filmmaking

V

4

36-5

Advanced Seminar in Film Studies

439-3 439T5

Directed Study in Film and Video

490-5 ( 4

3 7 -5)

Advanced Video and Electronic Cinema

Production

*Former course number

**Now course

Background of the Film Area

The Film Area at SFU has been in place for a decade, beginning as a Minor

within a Fine and performing Arts Major. The intention to expand the Minor to

a Film Major was indicated as early as 1981 (see the Centre for the Arts' Five-

Year Plan of 1981) which proposed a Film Major to begin in 1984. Instead,

because of the financial cutbacks to the Centre for the Arts,

the

Minor was

reduced to a Concentration in Film within the FPA Major or Minor, and three

courses were dropped. However, because of the intensive and eclectic nature of

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film study, the requirements of the existing Film Concentration have continued

to exceed those of most other departments of the Faculty of Arts, and, in the

Lower Division, the

1

existing Film Concentration (15 hours Lower Division, 17

-7

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4

iours Upper Division) equals the Lower Division Major requirements of many

departments within the University.

It has

been

vital to maintain these high credit levels even in a program

without a Major because of the particular combination of technical

)

creative and

rit.ica1/theoretica.l studies required to educate a well-rounded film-maker. We

are committed to instructing students in the history, theory and aesthetics of

f ilin as well as in the complex technology of this multi-disciplinary medium. In

these numbers are included as well the Centre for the Arts requirements for

lriterdisc:iplinary credits at

the

Lower Division level.

Students come to our program now for many reasons. Primary among

these is that., although not offering a Major, the Film Area is enhanced by its

cic:se ties with the rest of the Centre for the Arts. Students appreciate the

multi -disciplinary nature of the Centre, which corresponds to cinemas own

interdisciplinary character, incorporating elements of music, theatre, visual arts

and sometimes dance as well as subject matter from many other disciplines.

C.'u.rses in other art forms, along with the availability of students from other

aI

eas as performers, c:c'mposers, and designers for student films, are invaluable

in the development of accomplished filmmakers. In addition, the film history,

theory and criticism courses are often cited by students as a major determinant

of their interest in our program.

A second factor that attracts candidates to our program is Vancouver's

reputation as a major centre for film production. Many potential filmmakers

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anticipate that undertaking their film training in this city will help initiate

thetri into the local film production community after graduation.

A third reason is the reputation of the program itself. Previous Centre for

the Arts students have distinguished the Film Area through their

accomplishments, particularly their many film festival awards in recent years.

Faculty as well, because all are active filmmakers, draw in students who have

seen their work in festivals, at repertory cinemas, and on television. In

addition, the three-year-old Praxis Film Development Workshop, a non-credit

professional development program run by the Centre for the Arts, has received

considerable national publicity; many potential students cite it as a factor in

their attraction to the school. Typically around 25 of our applicants come from

outside the province, and inquiries from Europe and the United States have

been increasing.

A fourth factor is that students in fact have few substantive film

programs to choose from in this country. Although a Film Major has been in

place at U.B.C. for several years, it is highly restricted and thus unable to

accornrnc:date the demand of many qualified students. A minimal program at

the University of Regina is the only other Canadian Film (production) Major

west. of Ontario. Emily Carr College of Art and Design has small though well-

regarded film, video and animation streams. Consequently, students who want

a ?

-year f

i

lm production program with a significant academic component and

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.:ss to relat.edart.isti: disciplines find Simon Fraser one of their few choices in

the c.c:'untrv.

Typically ve receive three times as many applicants as we

can

admit.

With the int.rodution of the Major and the reorganization of the Concentration

in Film, we will be able to serve more students. At the same time we expect to

have more appli4ants who might otherwise go east to obtain a Film Major. In

addition, we have seen an increasing interest in our courses -- particularly

those in Film Studies and Video Production -- as electives for students from

other areas of the university. We have therefore designed a Major program

which. while remaining modest in terms of faculty, capital and space needs, will

:rve our own ddicated film and video production students while concurrently

accommodating

modating oer sectors of the University with a larger selection of courses,

greater enrollments and more accessible prerequisites in Film Studies courses.

Resources

Financial:

In spite of the recent economic restraint at the University

.

. the Film Area

has mana

g

ed to increase its resources in a modest way over the last few years

This has been done primarily through diverting funds from Praxis Film

Development Woçkshop, a Funds for Excellence project which was initiated in

I 96. This funding has now been incorporated into the Centre for the Arts base

W ?

budget

Prams has been successful in attracting additional government, and

private funding on two levels. First, substantial regular annual donations have

come from several government agencies and private film companies. These

funds, along with karef

Ui

budgeting of core F.E.E. funds within Praxis, enable

us

to channel a significant amount toward curricular expenses in the Film Area.

These diversions lave funded course costs

,

and capital equipment as well as the

hiring of part-time faculty, allowing us to increase our course offerings under

Selected Topics or Directed Study numbers over the last few years. Some of the

t

opics taught this way have been so valuable that we now propose them as

regular courses.

Second. Praxis has given increased credibility to the SFU Film Program as

a professional-level educational facility, attracting donations of stock,

equipment and facilities directly to the academic sector. The development of

the new Centre for Image/Sound Research, which is funded by private industry

and the federal and provincial governments, will similarly help us attract

additional outside resources to the ac:ademic. programme.

The Major pr

esent ed

here has been designed with budgetary limitation in

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mind. Rather than introduce a number of new filmmaking courses, we are

expanding into areas of specialization within film production -- Advanced

creenwriting (FPA

338-3)

and Directing Actors (FPA

339-3) --

which enhance

filmniaking skills but are not as cosuy to teach as the full -blown film production

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c-ourses. The one new core filmmaking course (FPA

33 1 -5)

is a reinstatement of

a course eliminated in the budget cuts of 1984. The two new technical support

courses (FPA

233-2:

The Techniques of Film; and

393-3:

The Techniques of

Video) are both meant to relieve related production courses of some technical

instruction, allowing those courses to be devoted primarily to creative aspects

cf production. Equipment use outside the classroom will not be much increased

T,

by these courses. We also plan to place more emphasis on the use of video,

hich is characterized b

y

lower production costs and increased accessibility.

Although we would dearly welcome increased capital resources, we can

operate the proposed Film Major with existing equipment for the time being.

Equipment roqt.ed to support the Major (see Appendix A) is the same list

that we have submitted for the past few years to support the existing film

production classes. Much of it is meant to replace existing equipment which is

wearing down; it is needed as much without the Major as with it.

We will only introduce new courses as resources are available; however,

it is of fundamental importance to establish our Major now in order to attract

the I?soUr(:es arid students that might encourage us to grow in the future.

Faculty:

Recent additions to the Film Faculty allow us to add courses without

requiring immediate hiring of new faculty. In 1986 the Visiting Faculty position

in Film was converted to tenure-track; Patricia Gruben, who holds that position,

is now a tenured Associate Professor. The other tenure-track positions are held

1::y

Assistant Professor Cohn Browne and Associate Professor Jacqueline Levitin,

who comes to us this year from Concordia where she was Chair of the Film

Department. Though cross-appointed with Women's Studies, she teaches

courses in that department that qualify for Film credit; thus she is in effect

c:arrying a full teaching load in Film Studies.

In 1

9e7

a new full-time Visiting Faculty position was authorized and a

:::omnhit.xrient has been made tc:ward renewing that position annually. We hope

to convert it to tenure-track in the near future. This year it is held by Chris

Weisby. a British experimental filmmaker with 15 years' teaching experience at

the University of London and the Slade School of Art. As well, our long-time Lab

Instructor Mark Smith teaches one or two courses for us every year. George

Rosenberg, who has taught Film Studies courses for several years as a sessional,

has been promoted to Lecturer for 1989-90.

In addition, we have a number of sessionals who have taught for us for

several years. When the Centre for the Arts was part of the Faculty of

! nterclisciplinary Studies, an ongoing commitment was made to allow us an

unusual number of sessional instructors because of the value of having

practicing artists as instructors in our programs, arid that commitment has been

maintained by Dean Brown. In spite of the comparative stability of our

sessional allotments, we have ensured that we have suffic:ient regular faulty to

teach all required courses in the Film Major.

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Requirements

The Film Major requirements consist of 19 credits in Lower Division Film

(plus 6 FPA credits outside Film) and

33

credits in Upper Division Film (plus

5

FPA credits outside Film). The 11 credits in studio and history /criticism course

requirements outside the Film Area but within the Centre for the Arts, while

not applicable to 'the breadth requirements of the Faculty of Arts because they

are still within the Department, may be seen as addressing a possible concern

about over -specialization in the Lower Division. Our Major requirements are

well within the range of Film Major offerings in Canadian universities (see

Appendix E).

Nature of the Program

Our proposed Film Major is designed to build on our present strengths,

rather than try to offer all things to all students. In practice this will mean

increasing emphasis on:

(1) Specialized creative technique courses. This includes the formaliza-

tion of one interdisciplinary course, FPA

339-3:

Directing Actors for Film,

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taught two years ago as a special topic in the Theatre Area. This course, along

with the new course in Advanced Screenwriting (FPA

338-3)

and two more

courses (Film Sound and Film and Video Editing) to be added when resources

permit, will enable the student to advance in areas of creative specialization in

the third year, and eventually to enter the film community with more highly

developed skills. Though these courses will facilitate the pursuit of special

interests, their purpose is still to encourage the development of competent and

well-rounded independent filmmakers rather than to train technicians for the

industry. As with all our filmmaking courses, aesthetics and history are

integral components of the instruction.

The choice of emphasis for specializations reflects as well the particular

strengths of our program. The importance of screenwriting, for example,

reflects our ability to draw on the resources of the Praxis Film Development

Workshop (e.g., a large library of film scripts and other material purchased with

a SSHRC grant, along with visiting screenwriters, special screenings and other

programs). Thanks to our ties with Praxis and the recent addition of faculty

with expertise in this area, we can accommodate an increasing interest in

writing for film among our own students, as well as among those currently in

Theatre, English and other areas of the university who might apply for the

course as an elective.

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(2) Electronic cinema. new video and computer-based media. These are

served by the addition of a new technical video course (FPA 393-3) and the

inclusion of video topics in our Film Studies courses. Our video offerings will

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increasingly emphasize the history and aesthetics of the video medium in its

oWfl

right, rather than approach video simply as an adjunct to film production.

Work in video, because it attracts students from Dance and Visual Arts as

well as other areas within the Centre, encourages interdisciplinary collaboration.

One course presently offered (FPA 437-5, to become FPA

490-5)

can

accommodate new initiatives in video and computer graphics. In addition, FPA

4

39-3: Directed Studies in Film and Video, may be used for special projects

initiated by advanced students. Course title and number changes will express

the new emphasis on expanded media forms. We hope to draw on the expertise

of personnel at the new Centre for Image/Sound Research for Directed Study

supervision, work-study projects, and guest lectures.

(3) Advanced production experience and education in the organizational

aspects of filmmaking. Formalization of our Group Filmmaking course (FPA

431-5) and reorganization of the directed study offering (FPA

439-3)

will

give

our students badly-needed production experience without draining our

technological resources. FPA 431-5: Group Project in Film, has been taught

twice to groups of senior students under individual Directed Study numbers. To

formalize it under its own title will signal its availability to potential students as

well as potential sponsors. It will not make a major demand on resources

because it will always be funded from outside -- by an artists group, social.

agency or other non-profit organization. The students will develop more

professional techniques and communication skills by working outside the

academic support system. The course will usually be taught in the summer,

when equipment is not used by other classes.

For FPA

439-3:

Directed Study in Film and Video (to be changed from

FPA

439-5) the prerequisites and credit hours are being slightly relaxed so that

students may take it before or during their fourth-year production semesters

rather than afterward.

(4) Increased accessibility to Film Studies. We are adding three new

Film Studies courses (while dropping one). One of the lower division courses,

FPA 2 3 6

- 3 (Cinema in Canada) is designed to take advantage of our increasing

ties with the Communication Department and to develop our students

awareness of the cultural foundations of their own country. Another lower

division course, (FPA

237-3:

Selected Topics in Film Studies) which we offered

(as FPA 239-3) until the budget rationalization of

1984, will

be re-introduced

in order to accommodate the interests of both Major and non-Major students.

These two courses will be offered as funding, student demand, and faculty

availability permit. At the same time, we will be dropping our FPA 334-3: Film

Analysis. This topic can be taught under the Selected Topics numbers when

appropriate. The third course, (FPA 335-3: Film Theory, formerly FPA 234-3),

as befits its intensive nature, will be moved into the upper division, although

the prerequisite structure allows students to take it in the second year if they

choose.

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9

Both our existing and our new Film Studies courses emphasize Selected

Topics offerings. In the calendar we will indicate specific topics regularly taught

under these numbers, in order to give potential students reading the Calendar a

clearer understaiding of the parameters of the courses.

SUMMARY OF COURSE CHANGES FOR THE FILM MAJOR

Proposed New course numbering system:

The first digit in each number refers to academic level: 1 and 2 for lower

division;

3

and

4

for upper division. The second digit signifies film courses as

distinguished from others in the Centre for the Arts. Film courses are indicated

by the number 3; Video courses by

9.

The third digit indicates the type of

course offered:

0, 1 and 2: Filmmaking and video-making courses

3

and

4:

?

Technical courses

5, 6 and 7:

Film studies/lecture courses

8 and 9: ?

Directed Study and miscellaneous courses

Thus a second-yer level filmmaking course would be numbered 230,

231

or

2

3 2

;

a fourth-year film studies course would be numbered

435,

436

or

437.

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The following course numbers follow this system, with current numbers (if any)

following in parentheses.

Courses to be Dropped

?

33 4 -3

?

i ?

Film Analysis

?

4

3 1

-5 ?

Experimental Film Production I

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433-5 ?

Experimental Film Production I I

Rationale: FPA

431

and 433

were taught concurrently with our FPA

430-

5

and 4

3 2

-5:

Advanced Film Production, by two faculty members who shared

the supervision of the films made in fourth year. Because there was not a clear

distinction in the types of films made by students in the two course cycles, and

because both instructors who typically teach the courses are capable of

addressing issues th the avant garde as well as narrative and documentary film,

we believe that the two course streams are artificially divided and that it would

be more valuable to liberate one instructor to teach other courses. As well, the

addition two yearsgo of our FPA

437-5

(now FPA

490-5):

Advanced Video and

Electronic Cinema Production, accommodates the interests of those students

particularly interested in new technologies to support their experimental work.

Therefore we can eliminate the the two courses in experimental film production

• ?

without reducing the number of students we teach or our ability to address this

important aspect of ifilmmaking.

The Film Analysis course (currently FPA

334-3)

can be taught?

periodically under one- of the Selected Topics numbers (FPA

237-3, 337-3,

or

/3.

---

10

4

3 6

-5,

depending on desired academic level. We have not taught it every year

because of faculty commitments to a wide variety of courses, and declaring it as

one of several possible topics will better reflect this fact.

New Courses (Outlines Attached

FPA ?

2

33-

2

The Techniques of Film

236-3

Cinema in Canada

2

3 7

-3

Selected Topics in Film/Video Studies

33

1

-5

Filmmaking III

338-3

Advanced Screenwriting

339-3

Directing Actors for Film

393-3

Techniques of Video

431-5

Group Project in Film

Of the eight new courses, two (FPA

237-3

and FPA

331-5)

are

revivals of

courses that were eliminated in the budget cutbacks of

1984.

Two others (FPA

2

33-

2

and FPA

393-3)

are technical support courses. Four others (FPA

236-3,

FPA

338-3,

FPA

339-3

and FPA

431-5)

have been taught at least once in the

I

ast three years under Directed Study or Selected Topics numbers, and proven

to be so successful and so integral to the development of well-rounded

filmmakers that we are convinced they are worthy to be included as regular

course offerings. New Course Proposal Forms (Appendix A) give details of each

course.

Changes in name.

i ?

FPA

230-5(134-5)?

2

3

1

-3 (230-5)

?

2

38-3 (332-5)

?

330-5

v_

J

•

(

(330-3)

'JJ

i_

J

335-3 (234-3)

337-3 (339-3)

390-5 (233-5)

43

0

-5

(same)

4

32-5

(same)

4

3

6

-5

(same)

439-3 (439-5)

490-5 (437-5)

iumber, prerequisite or calendar description:

Fundamentals of Film

Filmmaking I

Introduction to Screenwriting

Filmmaking II

Advanced Cinematography & Lighting

Introduction to Film Theory

Intermediate Selected Topics in Film/Video Studies

Introduction to Video Production

Filmmaking IV

Filmmaking V

Advanced Seminar in Film Studies

Directed Study in Film & Video

Advanced Video and Electronic Cinema Production

Previous course number is given in parentheses. Indications of changes to

prerequisite or description of each course follow in Calendar Entry section.

ILL

---

.

CALENDAR ENTRY

A student wishing to study Film may choose either a Film Major or a Film

Concentration within a Fine and Performing Arts Major.

FILM MAJOR PROGRAM

The intent of the Major in Film is to provide a balanced program of

creative, technical! and analytical studies within the interdisciplinary setting of

the Centre for the Arts for the development of informed and imaginative film

and video makers. Film and video production courses emphasize the creation of

original work as N4ell as the acquisition of technical skills. Film Studies topics

are taught concurrently with production courses to familiarize students with the

aesthetic and socil issues surrounding contemporary film and video practice.

Students are encouraged to augment their understanding of the components of

film and video through interdisciplinary studies and projects. Directed study

courses are available for students wishing to work independently beyond

regular course offerings.

A student may apply for

,

admission to the Major program after

completing FPA

231.

Approval will be based on the students creative work and

academic record in required Lower Division courses, particularly FPA 136, 137,

230 and

231.

Requirements:

Lower Division:

Students must complete 25 credit hours in designated

courses, including:

All of:

FPA

136-3

137-3

230-5

231-3

233-2

* One of

FPA

238-3

*

tI1

.1

The History and Aesthetics of Cinema I

The History and Aesthetics of Cinema II

Fundamentals of Film

Filmmaking I

The Techniques of Film

Cinema in Canada

Selected Topics in Film and Video StUdies

Introduction to

Screenwriting

.

With prior permission, students may substitute courses from other

?

departments devoted to a film or video topic to fulfill this requirement.

/&

---

12

A minimum of three credits in a Lower Division studio course in another area

Within the Centre for the Arts. Recommended courses:

?

FPA

147-3

?

Introduction to Electroacoustic Music

?

151-3 ?

Introduction to Acting I

?

163-3 ?

Issues in Spatial Representation

?

170-3 ?

Introduction to Technical Theatre

Students may substitute CMNS

2

58-3:

Introduction to Electroacoustic

Communication to fulfill this requirement.

One of:

FPA

111-3:

Issues in the Fine and Performing Arts; or another FPA history or

critical course.

Upper Division

Students must complete

38 credit hours in designated courses as follows:

All of:

?

FPA

335-3 ?

Introduction to Film Theory

Two of:

?

FPA

330-5 ?

Filmmaking II

?

33

1 -5

?

Filmmaking III

?

390-5

?

Introduction to Video Production

?

393-3 ?

The Techniques of Video

Twelve additional Credits from among the above courses and:

?

?

FPA

333-3 ?

Advanced Cinematography & Lighting

338-3

?

Advanced Screenwriting

339-3

?

Directing Actors for Film and Video

337-3

?

Intermediate Selected Topics in Film & Video Studies

4

3

6

-5 ?

Advanced Seminar in Film Studies

Note: ?

With prior permission,

students

may substitute

courses from other

departments devoted to a film

or video

topic to fulfill

this requirement.

Ten credits from:

?

FPA

430-5 ?

Filmmaking IV

?

4

3 1

-5

?

Group Project in Film and Video

?

4

3

2

-5 ?

Filmmaking V

?

490-5

?

Advanced Video and Electronic Cinema

I.

---

.

?

One of

FPA 310-5

312-5

313-5

314-5

3.15-5

FPA MAJOR

The Arts in Context: The Renaissance

The Arts in Context: Baroque and Enlightenment

The Arts in Context: Romanticism

i The Arts in Context: Modernism

The Arts in Context: The Contemporary Period

CONCENTRATION IN FILM

13

The Concentration in Film is designed primarily for students who wish to

take a more interdisciplinary approach to their film and video studies,

particularly students who wish to combine studies in video with coursework in

other areas. Courss in film and video production are complemented by

offerings in theory, history and aesthetics, and critical studies.

Lower Division:

In addition to requirements for the FPA Major, students must

complete a minimum of 13 credit hours in designated Film courses including:

All of:

FPA ?

230-5 ?

. Fundamentals of Film

231-3 ?

Filmmaking I

233-2 ?

The Techniques of Film

One of:

FPA ?

136-3 ?

History and Aesthetics of Cinema I

1

3 7 -3 • ?

History and Aesthetics of Cinema II

2

37-3

?

Selected Topics in Film/Video Studies

Upper Division:

In addition to requirements for the FPA Major, students must

complete a minimum of

16

credit hours in designated Film courses including:

One of

FPA ?

335-3 ?

Introduction to Film Theory

337-3

?

Intermediate Selected Topics in Film Studies

4

3 6

-5

?

Advanced Seminar in Film/Video Studies

Note:

?

With prior permission, students may substitute courses from other

departments devoted to a film or video topic to fulfill this requirement.

13 Additional Credits selected from the above courses and:

?

FPA

330-5

?

Filmmaking II

?

33

1 -5

?

Filmmaking III

?

390-5

?

Introduction to Video Production

.

---

14

?

393-3 ?

The

Techniques of Video

?

490-5

?

Advanced Video and Electronic Cinema Production

?

338-3

?

Advanced ScreenwriUng

?

490-5 ?

Advanced Video and Electronic Cinema

NEW COURSES - CALENDAR ENTRIES

(See Appendix A: New Course

Proposals)

?

FPA 233-2

?

The Techniques of Film

This course covers the technical aspects of basic 16mm. production skills:

camera, lighting, sound, editing, lab processes. These skills are taught as discrete

units of instruction, with lab exercises and exams at the end of each unit. This

course is normally taken in conjunction with FPA

231-3. (Laboratory).

Prrqwsit FPA 230 Lndp(rnilsJon o

f tw p

dpartznent. Latratory I.e

?

FPA

236-3

?

Cinema in Canada

The course will explore the concept of national culture in the context of

increasing globalization of market industrial society. The class will view and

discuss Canadian dramatic, documentary and experimental film in relation to

the myths and ideologies of our culture. (Lecture/Seminar).

PrrqwsitFPA

1

3 6 r 13,

r Communk.ztoiis 110 r 120

?

FPA

237-3

?

Selected Topics in. Film, and Video Studies

This course will cover a specific topic within the field of Film and Video studies

not covered in depth in regularly scheduled courses, such as: National Cinemas;

Film and Politics; Canadian Cinema; Documentary Film and Video. Weekly

screenings will be accompanied by lecture/tutorial sessions. The course may be

repeated for credit if a different topic is taught. (Lecture/Seminar).

Frrquisit:

FPi1

136

or 43, 7

.

Of

prrnJs.cion of instructor

?

FPA

33 1 -5

?

Filmmaking III

This course continues the work begun in FPA

330-3:

Filmmaking II. Students

will acquire proficiency in film technique through lab exercises, readings and

film screenings. As well, all students will participate in the making of short

original sync-sound 16mm. films. Emphasis is placed on the development of

means for creative expression supported by technical skills. (Production).

330 3ndpornis.cion of

tt

p dartrnent Lratoryfo

10

---

15

reqwnd Students .E1ouJd be advi..ci that

film

production miiy reqwre

persnalfiwdiiig beyond the Jab fees:

FPA

338-3

?

Advanced Screenwriting

This course will present advanced theory and techniques for writing dramatic,

experimental and documentary film scripts. Additional topics covered include

script analysis, production breakdown, and the writing of treatments and

proposals. This course provides an opportunity for students to prepare scripts

for. fourth-year film or video projects. (Lecture/Seminar).Prerei s/ts.FP $30

and permisskw oJ e department

FPA

339-3

?

Directing Actors for Film and Video

This course acquaints intermediate-level students in Film and Video with

techniques of dramatic film performance. Students will be expected to perform

as both actors and directors on scene work in class. Topics covered include

auditioning, role preparation, character development, blocking for the camera,

and various performance techniques. (Seminar /Studio).

Prereqiusittc FPA

23FPA J and

permission ( the department Students with zopr division

stndingth

Theatj-

and

d

nst:adfamJJIri1>' th film directthgpractxs

/2237

be

n

v2& ,

dPrAY, for adfiiissioii.

FPA

393-3

?

IThe Techniques of Video

This is an intermediate course that examines the complex technical basis of the

video medium. Emphasis is placed on use of studio equipment,, particularly

video signal processing procedures. The course is a prerequisite for FPA 490-5

and all Directed Study in video. (Lecture/Lab)

Prereqwttes]PA 3?O and

permJsciin of the department

A

laboratory fee is required

FPA

4

3 1

-5

?

Group Project in Film

Students will undertake projects sponsored by non-profit arts or social groups,

in order to gain experience working in a semi-professional atmosphere. An

experienced producer from the regular faculty or the local film community will

supervise the production. Projects may be shot in video when appropriate.

(Production ) .

Prereqwsite. FPA

331

and permission of the department

---

16

NAME, NUMBER, PREREQUISITE OR CALENDAR

DESCRIPTION CHANGES:

?

0

1. Changes to Number. Calendar Description and Prerequisite:

FPA

2

30 -5

Fundamentals of Film

(Replaces the current FPA 134-5:

Fundamentals of Film)

Former description and prerequisites:

"This course will introduce students to structuring films of all genres. The

material qualities of the medium, as well as its historical manifestations, will be

analyzed through class lectures, screening of films and exercises in writing and

other media. This course introduces scriptwriting, photographic composition,

editing, sound mixing and non-literary scripting models. (Seminar).

Prrqius/t

Prnijs.c'Ain of the department through

qit

stioniiair' JntrvwprocscJs

rk7width

L

LV3flt

o!rogistfatloft

Cntet cApartsnnt idonts who bav

ffI[)JOAckIFPA I3 and

133

or 2J2 cannot 44P this curs for further d/t

Change to read:

"This course will introduce students to the basic components of film -- light,

sound, chemical properties, composition within the frame, etc. The medium will

be analyzed through class lectures, film screenings and creative projects in the

various media that combine to form cinema. (Seminar /Laboratory)

ProroquLcJt

PirniJssAn of

the

dpartrnnt tbroigh qustJonnab- andthtrviowicroqzud

in advance of rgisti-atJon. A 1aArtryf

is

req wred Audeats

,

who have

tAwi FPA J3Z 13 or 232k'r reo't iiiay not

tale

FPA

£3O

for further rzrAtt"

Rationale:

The

number

is being changed to rationalize it into our new system. The

course description

and

prerequisites

are changed for brevity and

clarification. The addition of "Laboratory" to the

classification

reflects the fact

that equipment is used in some classes and assignments.

0

---

17

2. Changes to Number, Title, Calendar Description and Prerequisites:

FPA

231-3

Filmmaking I

(Replaces the current FPA

230-3: The Crafts of

Film!.)

Former description and prerequisites:

"An intensive study of the craft of filmmaking with emphasis on the use of the

camera, lighting, sound and editing. Introductions to the techniques of

filmmaking will be accompanied by exercises in their creative application.

(Laboratory). PrerèqiusJts FPA 13 a.cd ono of FPA

JJ6

or 13Z and

permission

of tile

epartfiient in adn

offegistfatJOn.

LaboraAry fee

req iured Students wile ilave iAen FPA

13'

and,or

133

for eredit

may

not tAe

FPJJ3O for further red/t

Change to:

"An introductory course in 16mm. film production, emphasizing creative use of

the medium. Each student is expected to conceive, direct and edit a short film

• with a non-synchronous soundtrack, as well as participate in the making of class

exercises and other students films. (Production).

FrereqwsJt:FPA 230 and

permission of the4partment Co-rA7wit:FJ 235 A laboratory

lee

is

• ?

reqwted. Studentc she uld be advid that liimmakingmayreqiurersonaJ

funding beyond th Jab lee"

Rationale:

The

number

is being changed to rationalize it into our new system and to

reflect the fact that[ it is normally taken in the first year. The

title

is being

changed to emphasize the fact that the class consists of the production of films

and not just the performance of exercises, and to clarify the sequence of film

production courses which serve as prerequisites for one another. The

description,

like the title, emphasizes the importance of making films in the

course. The

prerequisite

change reflects a change in the prerequisite course

number.

The

course description

is changed to clarify the factthat films are made in the

course.

0

---

18

3. Changes to Number. Name, Calendar DeripUon and eruisites:

?

is

FPA 2

38-3

:

Introduction to Screenwnting

(Replaces the current FPA

332-3:

Scriptwriting and Dramatic Direction.)

Former description and prerequisites:

"This course is designed to provide for the student a practical understanding of

s(reenwriting for film and techniques of dramatic direction in film. Students

will be expected to write at least one screenplay and conduct directing exercises

in video. (Lecture/ Laboratory).

PrrqwsJt:FPA

L3

and

330

Change to:

"This course introduces the methodologies of writing for the screen in various

styles, including dramatic, documentary and experimental forms, with an

emphasis on structure and the creative expression of visual ideas. Students will

perform a variety of writing assignments and each will be expected to complete

one or more short original scripts. (Seminar).

?

3'J or

2..

and prr 1%ion of the dep.rtwent.

q udeBhs ,

who have taAen FP,4

332

for credft

may not tate FPA 2.MJr further rzrRtt

Rationale:

The

number

is being changed to rationalize it into our new system, and to

move it into the Lower Division. The

name

change reflects the elimination of

the Directing component from the course (an entire course in Directing is being

added instead), and the addition of a course in Advanced Screenwriting. The

description

is changing to eliminate the reference to directing and clarify the

focus of the course. The

prerequisite

change reflects the move into the Lower

Division as well as course number and name changes in the appropriate

prerequisites, as well as a desire to make it available to Theatre students with a

background in playmaking.

0

---

19

. ?

4.

FPA 330-5: Filmmaking II

(Replaces the current FPA 330-3: The Crafts of

Film II.)

Former description and prerequisites:

"An intensive study of the crafts of filmmaking, with emphasis on production

planning, creative development, shooting and editing short films. Introductions

to the techniques of filmmaking will be accompanied by exercises in'their

creative application. PrereqiiLcJt: FM

$30

Laberat4ry fee reqiL/red

Change to:

The first of two courses (FPA 331-5 is the second) which form an intensive

study of the craft of. sync-sound 16mm. filmmaking, with an emphasis on

production planning, creative development and the shooting and editing of short

films. In-class exercises and film screenings will lead to the production of

several original films. Each student will be expected to play major creative and

. ?

technical roles in these productions. (Production).

PrerA7zusJtFPA

Jjt) Of Jj7aLldpeffliSSJOfl

of

the

depL?ft/nent

Ji

JLbOf3t/)f7

tOO

JfO711Jf&

Students

should be ad&d

that

film prdution n1ayre7wrepersnal

tundingbeyond

the

Jab

tees

Rationale:

The

number

is being changed to rationalize it into our new system and to

reflect the fact that it is normally taken in the second year. The

credits

are

being increased from 3

to

5

to reflect the amount of work required outside of

class to complete films. The

title

is being changed to emphasize the fact that the

class consists of the production of films and not just the performance of

exercises, and to parity the sequence of film production courses which serve as

prerequisites for one another. The

course description

now clarifies the

emphasis on film-niaAthg in the class. The

prerequisite

change reflects a

change in the prerequisite course number.

[I

---

20

5. Changes to Name. Calendar Description and Prerequisites:

FPA

333-3

Advanced Cinematography and Lighting

(Replaces the

current FPA 331-3: The Crafts of Film III.)

Former description and prerequisites:

"An intensive study of the crafts of filmmaking, with emphasis on location sync

sound production processes. Students will be expected to participate in the

realization of several sync sound films.

Pre.rqwsfAFPA

330

and pernzLccion of

the drtiiiiit

iidnit.c should

pct Apy a

1at.'ora&'ryf

Change to:

"This course emphasizes advanced 16mm. production skills in cinematography

and lighting. Students are expected to participate in intensive camera exercises,

as well as to play significant crew roles on fourth-year films. Recommended for

all

(

film

r

tJflt

majors.

A lat.vratry

(Laboratory).

fee i' i-eqzu.red

PrrqwsitFPA

33 1

LwdprmJssJon of

S

is

Rationale:

The

name

is being changed to clarify that the course emphasizes the

development of skills in camerawork and lighting and does not fall into the

stream of core film

n7aAthg

courses required for the major. The

prerequisites

are changing to reflect changes in course numbers at the lower level. The

description

is being altered for clarification.

0

---

.

21

6. Changes to Nuiiber. Calendar Description and Prereq

ui

sites:

FPA

234-3.)

335-3:

Introduction to Film Theory

(Replaces the current FPA

Former description and prerequisites:

"An introduction to the theory of film and its subsystems (genre, narrative,

structure, semancs). This course is concerned not so much with individual

films or techniques, as with the general cinematic capability itself, as varyingly

theorized since the beginning of the century. The goal of film theory has been to

formulate schematic notions of the capacity of the film medium. Various

theories and theoretical positions will be assessed and compared in terms of

their related cinematic practice and ideological functions (Lecture/ Laboratory).

r'qwsit.sFPA JJ6 or 13, and pormnJsion of th

p

dpartirint

Change to:

"This course is concerned with the systematic understanding of the general

phenomenon called Cinema rather than with the properties or techniques of

individual films. Various theoretical positions will be assessed and compared in

terms of cinematic practice and its ideological functions. (Lecture /Seminar).

ProrqiusJt SLa-ditsfrojn an7ongFPA J3( J$, 7 Studonts who bav

tRwi FPA 2J4 for orodft niay not take FPA 1U for furthr

Rationale:

The

number

is being changed to rationalize it into our new system, and to

reflect

i

ts

move

into the upper division. The

course description

is being

simplified and shortened. The former "Lecture /Laboratory" classification is in

error and is being changed to its proper category of "Lecture /Seminar." The

prerequisite

change will allow students who have taken FPA 237 instead of

FPA 136 or 137 to be admitted to the course, and will eliminate the

requirement for permission of the department, which in practice has not been

required of film studies courses when the prerequisites are met.

---

22

7.

Changes in Number. Name. Calendar Description and Prerequisites:

?

10

FPA 337-3

Intermediate Selected Topics in Film and Video Studies

(Replaces the current FPA

339-3:

Selected Topics in Film.)

Former description and :prereguisites:

A specific area of film which is not otherwise covered in depth in regular

courses.

PreroquLcito:FPA ?

anrpormisin of

to

dçartrnont

Change to:

An intermediate course in critical studies, addressing a variety of topics under

this number; for instance, specific genre or area studies (comedy,

.'in noi

science fiction, etc.); national cinemas; :1 jim analysis; Third world film, video, art,

experimental film, etc. The course may be* taken again for credit if the topic

changes. (Lecture /seminar).

?

rOqIUcJtFPIJ ije

FPiJ

4J 7or

FPA £17Of

JfJhJs'kfl

of the

dopartont

Rationale:

The

number

is being changed to rationalize it with our new system. The

name

is being changed to reflect the introduction of a Selected Topics course in lower

division (FPA

237)..

to include Video as a potential focus, and to confirm its

status as a Film/Video

Sudis

Course. The

course description

is being

expanded for listing of typical topics.

Prerequisite

changes reflect the

addition of FPA

237,

the move of FPA

335

(formerly FPA

234)

into the upper

division, and the elimination in practice of instructor permission to enroll in film

studies courses.

S

---

23

8. Changes to Name. Number. Credits, and Calendar Description

FPA

390-5

Intr9duction to Video Production

(Replaces the current FPA

233-3:

Video Production.).

Former description:

"This course will ebiphasize the acquisition of craft skills as well as the creative

use of the medium. Students will learn to shoot and edit in both 1/2 and

3/'

formats, and to work in groups in developing ideas for visual production.

(Production.) Prrqiucit' ôliours er&it

in

FPA•wdprn'iisskn of

the

dpL?rtrtieJ!1t.

?

I

Change to:

"This course will emphasize the acquisition of craft skills as well as the creative

use of the medium. Students will learn to shoot and edit in both 1/2 inch and

3/4

inch formats, and will produce original videotapes alone or in groups.

(Production.) Prrqiusit 6a-&ithoursinFPil and permission

of tho

drtinntidntc

who have tAwi

FPiJ ?j3ftf

ad/t may not

tA'e FPJJ 390

for farther red/t A lratryfo is roqwr&

Stzidnts

should b advis& that

video production may rquir p'rsnal funding boyond tho lab Io

Rationale:

The

number

is being changed to rationalize it into our new system. The

credits

are being increased from

3

to

5

to reflect the amount of work required

outside of class time to complete videos. The

name

change reflects the addition

of a course in Advanced Video Production and Electronic Cinema (FPA 490,

formerly FPA 437) The

calendar description

is being changed to make it

clear that original video projects are made in the class.

.

27.

---

24

9. Chanes in Name. Calendar Description, and Prerequisites:

FPA

430-5

Filmmaking IV

(Replaces the current "Advanced Film

Production I.")

Former description andprerequisites:

Advanced synchronous sound film production in the areas of dramatic or

documentary film. Students are expected to participate in the location

production work and realization of one or more films during the semester.

Students seeking entry to this course are expected to present a completed

screenplay prior to admission. (Laboratory).

Prrqi its.FPA

£3', 331

L?fld

332

wdprnJs.cjijj of thpdrtmnt

Change

-

to-

The first half of a two-semester project in advanced lmm. film production.

Students are expected to participate in the realization of one or more films or

video productions during the two semesters. Students seeking entry into this

course are required to present a completed script (for a drama) or detailed

proposal (for a documentary or experimental film) prior to registration. The

exact nature of each student's articiption will be determined in consultation

with the instructor. (Production).

Prerqztht

i

ts:FPA

331.

FPA 335wd

rni..czxn of th

p

d

u-ti2nt A

J&

t2ryJ

Lcfk7uhr?d

Sudnts sjni1d b

L?dV/Sd

that JiJiii

prOdth.tJ{f)

?

fk7UiftJ)f?f5VflaJf1WdJf2g

AyCd

t1i

JL?h

J4s

Rationale:

The

name

change places the course in the line of core filmmaking courses

Calendar description

changes are made for clarification.

Prerequisite

changes reflect number changes at lower levels.

.

25?

---

25

. ?

10. Changes in name

1

and calendar description:

FPA

4

3 2

-5

Filmmaking V

(Replaces the current Advanced Film /Video

Production II.)

Former deripU6n:

This course is intnded to complete the students two semester course series in

advanced filmmaking. Students will be expected to complete the group projects

begun in FPA 430. Particular emphasis will be given to advanced film craft in

the post-production phase. The exact nature of each students involvement will

be determined in consultation with the instructor (Laboratory).

PffqwsJA

FM 5O andpthniccJon of

t2i

dp&rtrnent.

Change to:

This course is intnded for completion of film and video projects begun in FPA

4

3

0.

Particular emphasis will be given to advanced film craft in the post-

production phase. The exact nature of each students participation will be

is

?

determined in consultation with the instructor. (Production).

ProrqwsJtFM

430

il la&)rator,01

f00

Jsrq1ur& Stzidnts should bP advisd

that

film

production may

fOiJlU

rsnaJfuiMYng Avond tb lab fop

Rationale:

The

name

change 1

places the course in the line of core filmmaking courses.

The

calendar description

change is for clarification.

.

2ff

---

26

11. Changes in Name. Calendar Description, and Prerequisites:

FPA

4

3 6

-5 Advanced Seminar in Film and Video Studies

(replaces the

current FPA

436-5

Advanced Selected Topics in Film Studies)

Former description and prerequisites:

This course features a study and analysis of selected topics in film theory,

history, aesthetics and ideology. Particular emphasis will be placed on issues of

contemporary concern, as reflected in a significant range or work. Students are

expected to write original papers in an area of film studies to be determined by

student and available faculty. PrrqziLcit:FPA

?

andpnziJsAn

of th

e

d?rtrnnt

Change to:

This course features intensive study and analysis of selected topics in film or

video theory, history, criticism and aesthetics. Examples include: work of

specific directors or periods; theories of narrativity; ideological analysis;

particular aspects of national cinemas, etc. The course may be repeated for

credit if a new topic is taught. (Seminar).

Prrequisites.FPA ,. orpriiAn

of

the

departinnt.

0

Rationale:

The

name

is being changed to make it less awkward, to clarify that it is a small

and intensive seminar rather than a lecture course, and to note the inclusion of

video in potential topics. The

prerequisite

is being changed to reflect the

number change in the Film Theory course.

30

---

I

12. Changes in Name. Calendar Description. Credits and Prerequisites:

FPA

439-3 Directed Study in Film and Video

(replaces the current FPA

439-5)

Former description and prerequisites:

An independent production course for students completing a concentration in

film. ?

iN

-7W.VtP.

?

i3O or

4

31 orprrnJsAn of

the

drtirint

Change to:

An independent co

,

l

urse of study in film or video will be pursued by the student

in close consultation with the instructor. This may involve an independent

project, collaboration with students in another class, a research topic, or a

professional internship. Before registration, the student must submit a written

proposal outlining the project in detail to the chosen supervisor for approval.

The course may be repeated once for credit,; however, only one offering may be

applied toward fulfillment of the Film Major requirements.

.

?

(Seminar /Laboratory)

Pfr71usJt ô efeditbolirsin

iippf

division Film wd

pfmJSJOn of

t/1t

1rtmii

Rationale:

The

name

is being changed to include video. The

credits

are being decreased

to reflect the fact that major productions cannot be undertaken under this

number because of limitations on equipment and facilities. The

calendar

description

is being expanded to clarify possible avenues of study. The

prerequisites

are being changed to allow students to take this course before

finishing their normal course of study, rather than afterward.

fl

3j

---

28

13 .

Changes to. Name. Credits. Calendar Description and Prerequisites:

?

0

FPA 490-5 Advanced Video and Electronic Cinema Production

(Replaces the current

437-5:

Advanced Video and Electronic Cinema.)

Former description:

Advanced examination of the conceptual and technological systems which

support contemporary work in video, digital art and integrated media. Students

will be responsible for the production of a 'work and are encouraged to extend

the boundaries of the medium(s> through collaboration with dance, theatre and

visual art.

Prreqwsit:FPiI

33

indprf1JcsJon of the dtpartt22nt

Change to:

Advanced examination of the conceptual and technological systems which

support contemporary work in video, digital art and integrated media. Students

will be responsible for the production of original works and are encouraged to

collaborate

w

i

th

students in. dance, music, theatre and visual art.

PrrquJsJts.

390

LwdpefffJJsion

of the dep3r6ii'nt Pre-

or

9-r7wJt:FPA

393

Stu4nts ?

1V .rCJVPd L'ti'f

J"A 437m87!lot taAe FPA 490 Ji'r

fl,f, r

r'dit J3bor3Ar7 f

Js

rqwrd Students oWd b 3dv!s&

t3t

v,do pr1utJn

fn3yrA7wr

prsiiaJ fundwg beyond the Jab fe

Rationale:

The

number

has been changed to-rationalize it with our new system. The

name

has been changed. to clarify that it is a course in production rather than

studies. The

course description

has been simplified. The

prerequisites

have been changed to reflect number changes at the lower level and the

addition of the new course, FPA

393:

The Techniques of Video.

.

3)

---

.

.

.

[i:

. F

pr2j

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM ?

1 19R

Calendar Information

?

Department: Centre for the

rn' ?

LIV OF ARTS

I-.

Abbreviation Code: FPA Course No.: 233 Credit Hours: 2 Vector: 1-0-4

Title of Coure: The Techniques of Film

Calendar Desription of Course: This course covers the technical

aspects of basic 16mm. production skills: camera, lighting, sound,

editing, lab p rocesses. These skills are taught as discrete units

of instruction, with lab exercises and exams at the end of each

unit. This course is normally taken in conjunction with FPA 23 1-

3. Laboratory fee required.

Nature of Coiirse: Laboratory

Prerequisite (or special instructions): FPA 230 and permission

of the deparvment.

What course (courses), if any, is being dropped from the calendar

if this coursel is approved? None.

2.

Scheduling:

How frequently will the course he offered? Once a year

Semester in frhich the course will first be offered: Spring 1991

Which of yoir present faculty would he available to make the

proposed offring possible? M.Smith, P. Gruben

3.

Objectives of the course: To familiarize students with technical

matters relatd to lighting, cameras and sound equipment; to

provide them with solutions to 16 mm. production problems; to

inculcate organizational skills related to group film production.

4.

Budgetary add Space Requirements (for information only):

What additiohal resources will he required in the following areas?

Faculty:

33

---

Staff:T.A. ?

S

Library: None

Audio Visual: None

Space: None

Equipment: None

5. ?

Approval

Date:

OOCQ

?

-

99

Department Chair

?

Dean ?

Chair, SCUS

.

S

3y

---

.

?

COURSE OUTLINE

2

33-2

The Techniques of Film

Weekly Labs

I ?

Cameras: Demonstration /Workshop

2

?

Light Meters and Simple Lighting

3

?

Film,j Filters and Gels: Demonstration/ Workshop

4 ?

Lenses and Camera Movement: Demonstration /Workshop

5 ?

Blocking: Demonstration/ Workshop

6

?

Audio: Microphones and Recorders/Demonstration/Workshop

7

?

Lighting: Styles: Demonstration /Workshop

8

?

Mid-Term

9 ?

The Lab: A Tour

L

10

?

Procss Photography: Demonstration/ Workshop

11 ?

Post Froclucuon Sound: Demonstration! Workshop

12 ?

Editing Pt. 1: Demonstration/ Workshop

13 ?

Editing Pt. 2

Final Exam.

Course Requirernets:

Demonstration / Workshop

Attendance! Work Habit 10%

In-Class Work

?

40%

Mid Term Exam

?

20%

Final Exam

?

3O

Required Text:

?

E. Pincus and S. Ascher, The Filmmakers Handbook (San

Francisco, Simon & Schuster, 1983.)

Recommended Text:

?

K. Malkiewicz, Cinematography (N.Y.: Van Nostrand

Reinhold Co., 1973.)

35

---

SENATE COIIIIIT1'EE ON UNDERGRADUATE STUDIES

NEW

COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: Centre for the Arts

Abbreviation Code: FPA ?

Course No.: 236 Credit Hours: 3 Vector:

2-2-0

Title of Course: Cinema in Canada

Calendar Description of Course: The course will explore the concept

of 'national culture' in the context of increasing globalization of

market industrial society. The class will view and discuss Canadian

dramatic, documentary and ?

experimental film in relation to the myths

and ideologies of our culture.

Nature of Course: Lecture/Seminar

Prerequisites (or special instructions): FPA 136 or 137. or

Communications 110 or 120.

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2.

Scheduling:

How frequently will the course be offered? Once a year

Semester in which the course will first be offered: Fall 1990

Which of your present faculty would be available to make the

proposed offering possible? Browne. Levitin

.

3.

Obiectives of the course:

To familiarize new filmmaking and vid

cultural and political context of the

work will be received; to provide for

elsewhere in the university a context

4.

Budgetary and S

p

ace Requirements (for

50-making

.

students with the

society into which their

other students from FPA and

for viewing that work.

information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff: None

Library: None

Audio Visual: None

Space: None

?

.

36

---

Equipment.: 1)ne

5.pprova1

Date:

Department

OcS

3

Chair

(1

VI.

.

3

---

.

?

FPA 236-3: Cinema in Canada

The course will meet once a week for four hours: two hours of

film screenings and two hours discussion of films in the context of

readings.

.

Films

1. Canada Carries On. John Grierson

(producer)

2.

A harried Cou

p

le, Allan King

3.

Les Ordres, Ilibhel Brault

4. Goin' Down the Road. Don Shebib

5. A tout prendrel Claude Jutra

6. L'Aie et la femme, Gilles Caries

7. Deserters, Jack Darcus

8. Lamentations, Bruce Elder

9.

La reQion centrale. Michael Snow

10.

La vie revee. Ilireille Dansereau

11. Videodrome, David Cronenberg

12. Family

Viewing, Atom Egoyan

Topics

Film and the State

The new documentary attitude

Art imitates life

The dislocated protagonist in

English Canadian drama

The dislocated protagonist in

French Canadian drama

The two solitudes

Canada as not-America

The invention of an historical

context

Landscape and the Canadian

avant garde

Feminist fiction film in Quebec

The simulacrum, part I.

The simulacrum. part II.

.

In-class midterm

?

30%

Presentation or paper 30%

Take-home final

?

30%

Seminar paricipation 10%

B IBL IOGP.APHY

Books

Clift, Dominique.! The Secret Kingdom: Inter

p

retations of the Canadian

Character. Toronto: hicLelland and Stewart.. 1989.

3g

---

Feldman, Seth (ed.) Take Two: A Tribute to Film

,

in Canada. Toronto:

Irwin Publishing..

1984.

ilarchand, Philip. Marshall ricLuhan: The

Iledium

and the' Ilessenqer.

Toronto: Random HOuse, 1989.

Nelson, Joyce. The Colonized E

y

e: Rethinking the Grierson Legend.

Articles:

Frampton. Kenneth "Critical Regionalism: Six Points for an Architecture

of Resistance.

Frye, Northrop, "Conclusion, to

A

Literary History' of Canada.

Geertz, Clifford, "Art as a Cultural System."

Spencer, iichael, "Inside the Wagon Train: A Cautionary Tale.

U.S./Canada Film Relations 1920-1986."

.

.

3

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

?

NEW COURSE PROPOSAL FORM

Calendar Information ?

Department: Centre for the Arts

Abbreviatkn Code: FPA Course No.:2 37

?

Credit Hours:3

Vector: 3-2 .LO

Title of Course: Selected Topics in Film and Video Studies

Calendar Decription of Course: This course will cover a specific topic

within the field of Film and Video studies not covered in depth in

regularly scheduled courses, such as: National Cinemas; Film and

Politics; Canadian Cinema; Documentary Film and Video, etc. Weekly

screenings will be accompanied by lecture /tutorial sessions. The

course may be repeated for credit if a different topic is taught

Nature of Co

l

urse.- Lecture/seminar

Prerequisites (or special instructions): FPA 1

36

or

137,

or permissi9n of instructor.

What course (c'uncs), if any, is being dropped from the calendar if

this course is approved? FPA 334-3 Film Analysis

2.

Scheduling:

How frequehtly will the course be offered? At least once a year.

Semester in which the course will first be offered: Fall 1990

Which of yur present faculty would be available to make the

proposed of

?

possible? Browne, Gruben, Levitin, Rosenberg

3.

Objectives of the course: To begin to move into areas of depth in

the study of film aesthetics, history and critical theory. When

the topic permits, we will attempt to co-sponsor the course with

another academic programme and open it to students from that area

as well.

4.

Budgetary and Space Requirements (for information only):

What additinaI resources will be required in the following areas?

---

Faculty: None

?

.

staff: None

Library: None

Audio Visual: None

Space: ;None

Equipment: None.

5. ?

Approval

Date:

U

Department Chair

?

Dean ?

V

Chair, SCUS

?

.

Itt

---

.

fl'

.

CENTRE FOR THE ARTS

?

SELECTED TOPICS IN

FILM: POLITICAL CINEMA

INSTRUCTOR: ?

George Rosenberg

OFFICE: ?

CA

514

PHONE: ?

291-3903

The problem is not to make political films, but to make film politically."

(Godard)

The course will exam ne how cinema can signify and function 'politically"; how it can

seek to influence, shape and direct the political awareness, the political thought and

action, of the society that it addresses. The course will centre on the period c.1960 to the

present; and itwill focus u.n cinema that has sought to play a part in effecting radical

political change. The films that will be screened and studied (one film per week) will be

drawn from the cinemas of Europe (West and Fast), the Third World and other non

Western societies, and North America (Canada and the MAY These films will have

politics directly as their subject matter,

The course will examine how these films engage with the specific political questions

and issues with which they are concerned. It will analyze how the cinematic

enunciation of the film functions in relationship to its political argument. And it will

consider how the institution of cinema-- the production, distribution, exhibition, and

reception of cinema- in the society in question works towards determining the

political functioning Of the film.

The readings for the course will be drawn both from the field

of

cinema. studies,and

from the literature of

1

politics and political thought.

FPA 234 and/or permission of the Department. In

1988-3

only, any student who has

completed both FPA 136 and 137 will also automatically be eligible to register for the

course. Students who have completed only one out of FPA 136 and 137, or who have

completed neither course (nor FPA 234), may also be eligible to take FPA 339 in

1988-3,

but they must request permission of the instructor before registering for the course.

REOU1RIpT1xTs:

Required readings relating to the course will be placed on reserve in the Library.

These will constitute the "required texts" for the course.

COURSE REOUIRMFNTS AND GRADING:

Term Paper—

?

55%

Final Examination ?

25%

Class Participatibu

?

20%

* Class participation includes regular attendance at class; doing the required readings;

constructive engagement in class discussion; and general participation in the work of

the course,

---

The following books have been ordered through Bernard, who has the book table

outside the large cafeteria On the south west side of campus (near-the covered

mall).

?

0

REQUIRED:

--ONE-DIMENSIONAL MAN. Herbert Marcuse

--THE AESTHETIC DIMENSION. Marcuse

--SUBCULTURE: THE MEANING OF STYLE, Hebdige

--SOCIETY OF THE SPECTACLE, Guy Dehord

--STUDIES IN ENTERTAINMENT: CRITICAL APPROACHES TO MASS

CULTURE, T. Modleski (ed)

RECOMMENDED:

--AESTHETICS & POLITICS: DEBATES BETWEEN BLOCH, LILKACS. BRECHT

AND ADORNO. Ronald Taylor

--THE ORIGIN AND SIGNIFICANCE OF THE FRANKFURT SCHOOL: A

MARXIST PERSPECTIVE, P. Slater

--PICTURES OF REALITY: AESTHETICS. POLITICS & PLEASURE T. Lovell

--COUNTER REVOLUTION AND REVOLT Marcuse

--GRAMSCFS POLITICAL THOUGHT: HEGEMONY,

CONSCIOUSNESS AND THE

REVOLUTIONARY PROCESS, Joseph Femia

--THE SOCIOLOGY OF YOUTH CULTURE & YOUTH SUBCULTURES'. M. Brake

--RESISTANCE THROUGH RITUALS, S. Hall & T. Jefferson (eds)

FILMS TO BE SHOWN DURING TIlE COURSE:

--INSIGNIFICANCE, Roeg

--TRUE STORIES, Byrne

--THE KING OF COMEDY, Scorsese

--DAWN OF' THE DEAD, Romero

--ALIENS, Campbell

--THE GOLD DIGGERS, Potter

--BORN IN FLAMES, Borden'

--THE RIVERS EDGE, Hunter

--SID AND NANCY, Cox

--NASHVILLE, Altman

--THE FLY, Cronenherg

- -ROBOCOP, Verhoeven

A*

41.3

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM

0

?

1. Calendar Information Department: Centre for the Arts

Abbreviation ode: FPA

?

Course No.: 331 ?

Credit Hours:5

Vector:3-0-4

Title of Course Filmmaking III

Calendar Description of Course: This course continues the work begun in FPA

33 0

-

3

:

Filmmaking II. Students will acquire proficiency in film technique

through lab exercises, readings and film screenings. As well, all students will

participate in the making of short original sync-sound 16mm. films.

Emphasis is placed on the development of means for creative expression

supported by technical skills.

Nature of Coure: Production

Prerequisites (or special instructions): FPA

330-5

and permission of the

department. Laboratory fee required. Students should be advised that

film production may require personal funding beyond the lab fee.

What course (courses), if any, is being dropped from the calendar if

this course is approved? None.

2. Scheduling:

How frequently will the course be offered? Once a year

Semester in which the course will first be offered: Spring 1991.

Which of your present faculty would be available to make the proposed

offering possible? Browne, Gruben

3.

Objectives of the course: To teach technical, creative and organizational skills

involved in filnmaking by producing as many films as possible on a more

complex scale than in prerequisite courses.

4.

Budgetary and Space Requirements (for information only):

What additionall resources will be required in the following areas?

---

Fa c

ulty: None

Staff: T.A.

Library: None

Audio Visual: None

Space: None

Equipment: None

.

5.

Approval

Date:_U

be( 3'

\&-

Department Chair

LI

---

FPA 331-5 FILMMAKING III

?

Course Outline

This course will continue in the direction set by its predecessor, FPA 230-

5. Students that did not produce films in the staggered schedule of the first

semester will complete their work in this course.

Intensive work will be done in weekly labs in the following areas:

Conception of a vsua1ly evocative idea; form and meaning in cinematic

expression. The use of language in film. The aesthetics of sync sound.

Art Direction: Color theory, manipulation of space, coordination with lighting and

cinematography.

Production management. How the crew works together. Set protocol.

Blocking for the camera. Camera movement.

Cinematography: Review of Arri SB, review of synch sound techniques..

Shooting styles.

Actors: Working with non-professionals. Workshops with theatre students.

Continuity: principles and procedures.

Lighting: intermediate location problems.

Sound recording: itermediate location problems.

Editing: Aesthetic. Cutting on movement, colour, shape, sound. Crosscutting.

Image rhythm.

Sound editing: intermediate. Music editing.

Music scores

Wvl

king wiil a composer.

Sound mixing on lmm. and/or multi-track audio tape;

Special Effects: in-amera and laboratory special effects, including front and

rear projection, step-printing and mattework;

Timing the print.

---

Texts:

Michael Rabiger, Directing: Film Techniques and Aesthetics. Boston: Focal Press,

1989.

Edward Pincus and Steven Ascher, The Filmmaker's Handbook. New York: New

American Librar

y.

, 1984.

.

0

al

---

. ?

SENATE COIIIIIT1'EE ON UNDERGRADUATE STUDIES

NEV COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: Centre for the Arts

AbbreviationCode: FPA

?

Course

No.

:338 Credit Hours:3

Vector: 3-0-0

Title of Couse: Advanced Screenwriting

Calendar Description of Course: This course will present advanced

theory and techniques for writing dramatic, experimental and

documentary fill and

video script. Additional topics covered include script analysis,

production ?

breakdown, and the writing of treatments and

proposals. This course

?

provides an opportunity for students to

prepare scripts

i

tor fourth-year film or video projects.

Nature of Course: Lecture/seminar

Prerequisites (or special instructions): IPA 238 and permission of

the department.

What course (courses), if any, is being dropped from the calendar if

this course i approved? None

2. Scheduling:

How frequentlj' will the course be offered? Once every year.

Semester in which the course will first be offered: Fall 1990

Which of yourpresent faculty would be available to make the

proposed offering possible? Browne, Gruben.

3.

Obiectives ofthe course: To train students in the techuiques of

writing succesful, produceable screenplays at the advanced level.

To generate the discipline and expertise required by third-year

film production students writing screenplays for their fourth-

year film and video projects. To provide a critical methodology

through study and practice.

4.

Budgetary and S

p ace Requirements

(for information only):

What additional resources will be required in the following areas?

Faculty: None

Staff: None

Library: None

4$

---

FPA 338 - ADVANCED SCREENWRITING

?

COURSE OUTLINE

Week 1.

?

Lecture: Introduction and establishing

schedules for the semester. General discussion of

the topic. Review of script format.

Assignment':

Write one

short 4-5 page script.

Reading: Richard Walter, Screenwritin

g

: The

Art. Craft and Business of Film and Television

Writin g

(New York: Plume Books, 1988), pp. 115-148.

Week 2.

?

Lecture: Character.

Assignment:

,

Exercise in character development.

Readings: Linda Seger, Makin

g

a Good Script

Great (New York: Dodd. Mead & Company). pp. 93-

105 and 141-159.

Walter,

?

pp.

69-81.

9

Week

3.

?

Lecture: Idea.

Assignment:

Exercise in

concept developthent.

Write proposals for Fourth-year films/video

projects.

Reading:: Walter,

pp.

35-68.

Week 4.

?

Lecture: Structure and story

development.

Assignment:

Write

a ten page script.

Readings: Seger,

pp.

60-74.

Walter, pp.82-114.

Week 5.

?

Lecture: Dialogue.

Assignment: Dialogue exercises.

Reading: Seger, pp. 160-176.

9

---

..

Week 6.

?

Lecture: Beginnings and endings.

Assignment: Final proposals due for Fourth-year

film/video projects. Individual meetings with

instructor. Begin Fourth-year screenplay.

Reading: Seger,

pp.

179-188.

Walter,

pp.

152-175.

Week 7.

?

?

Lecture: Alternative strategies: how to make

it new.

Assignment:

Exercise In alternative ornon-

conventional

film scripting.

Reading: Stan Brakhage, Brakha

g

e Scrapbook: ?

Collected Writings (New York: Documentext, 1982).

Cohn McCabe, Godard: Images,

Sounds, Politics (Bloomington: Indiana University

Press, 1980).

Andrey Tarkovsky, Scul

p tin g

in Time,

(New York: Alfred A. Knopf, 1987),

pp.

125-134.

Week 8. ?

Lecture: The documentary film.

.

?

?

Assignment: Exercise in documentary film

scr ipting.

Reading: Selected documentary scripts.

Eva Orbanz, Journey to a Le

g

end and

Back: The British Realistic Film (Berlin:

I

Edition Volker Spiess, 1977).

John Tagg, The Burden of

Re

p resentation: Essa

y s on Photographies and

Histories (Amherst: The University of

Massachusetts Press, 1988).

Week 9.

?

Lecture: The dramatic feature film.

Assignment: Write an outline for a feature.

Reading: Seger,

pp.

3-59.

Week 10.

?

Lecture: Writing a treatment.

Assignment: Individual meetings with instructor

regarding Fourth-year film/video projects.

Week 11.

?

?

Lecture: Breaking down a script for production.

Assignment: Break down five pages of Fourth-

year script.

•

?

?

Reading: Pat P. Miller, Scri

p t Supervising and

Film Continuity (Boston: Focal Press, 1986), pp.

5-28.

5I

---

Audio

Visual:

None

Space: None

Equipment: None.

Ej

0

. Approval

Date: Gc4ec I

I18

ff

6 /"'s

t

A^

.

Department Chair

Chair. SCUS

---

Week 12.

?

Lecture:

Ass ignme

roduct ion

projects.

Reading:

(Westport,

1986), pp.

Budgetary matters.

at: Calculate production and post-

budgets for Fourth-year film/video

Michael Wiese, Film & Video Budgets

CT: Michael Wiese Film Productions,

3-136.

.

Week 1

.

3.

?

?

Lecture: Review of screenwriting procedures and

techniques.

Assignment: Fourth-year film/video screenplay

due.

BIBLIOGRAPHY

Suggested texts for this course are:

Brakhage, Stan. Brakhae Scra

p

book: Collected Writin g

s. New

York: Documentext, 1982.

MacCabe, Colin.

, Godard: Ima

g

es, Sounds, Politics. Bloomington:

Indiana. University Press, 1980.

Miller, Pat P. Scri

p

t Supervising and Film Continuity. Boston:

Focal Press, 1986.

Orbanz, Eva. Journey to a Le

g end and Back: The British Realistic

Film. Berlin: Edition Volker Spiess, 1977.

Seger, Linda. 4akin

g

a Good Scri

p

t Great. New York: Dodd, Mead

& Compaiy, 1987.

. ?

Tagg, John. The Burden of Re

p resentation: Essa

ys

on

Photociraphies and Histories. Amherst: The University of

Massachusetts Press, 1988.

---

Tarkovsky, Andrey. Sculpting in Time. 'New York: Alfred A.

Knopf, 1987.

Walter, Richard,. Screenwrjtjng: The Art and Business of •Fi'lm and

?

Television Writing. New York: Plume Books, 1988.

Wiese, Michael. Film & Video Bud

g

ets. Westport, CT: Michael

Wiese Film Productions, 1986.

4 May 1989

Vancouver, :B.C.

L

.

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM

1. Calendar Information

?

Department.: Centre for the Arts

Abbreviation Cde: FPA

?

Course No. :339 ?

Credit Hours:3

Vector: 1-0-4

Title of Cours' Directing Actors for Film and Video

Calendar Description of

Course:

This course acquaints

intermediate-level students in Film and Video with techniques of

dramatic film performance. Students will be expected to perform as

both actors and directors on scene work in class. Topics covered

include auditioning, role preparation, character development,

blocking for the camera, and various performance techniques.

Nature of Course: Seminar/Studio

Prerequisites (or special instructions): FPA 230; FPA 151; and

permission of the department, Students with upper division standing

in Theatre anddemonstrated familiarity with film directing

practices may be considered for admission.

What course (courses), if any,

is

being dropped from the calendar if

this course isapproved? None

Scheduling:

How frequentlywill the course he offered? At least once every two

y

ea

r

s

Semester in which the course will first be offered: Fall 1990

Which of your resent faculty would he available to make the

proposed offering possible? P. Gruben, J. Levitin

3.

Objectives of the course: To familiarize film students with the

elements of fim performance in a workshop setting, so that they

will be able to better direct actors in their own films.

4.

Budgetary and Space Requirements (for information only):

What additional resources will be required in the following areas?

Faculty: None

Staff: None

Library: None

•

Audio Visual: Npne

.

2.

---

0

Space: None

Equipment: None.

5. Approval

Date.

OcL,er

Department Chair

Chair. SCUS

.

.

55

---

FPA 339-3: DIRECTING ACTORS FOR FILM AND VIDEO

Course Outline

This course is designed to familiarize students with the elements

of film performance by giving them an opportunity to act and to direct

actors.

The emphasis in this class will be on studio work, supported by

readings in film performance, viewing of scenes from feature films on

video, and clash discussion.

For the first four weeks, group exercises will allow students to

direct each other. In the latter part of the course, students will

direct actors in a series of exercises to be recorded on video for

further study. These will include theatrical warm-up and

improvisational exercises adapted for film work; scenes from pre-

written scripts;, mock auditions; blocking and performing for the

camera; and extensive scene work. Each student will produce a final

project to be presented to the class; students may use pre-existing

screenplays but are encouraged to work with their own material or

scripts written by other students.

Gradin

g

Criteria

Weekly class exercises:

?

40%

Mid-Term presentation:

?

20

Final Presentation

?

40%

Texts:

Michael Rabiger, Directinq: Film Technicjues and Aesthetics. Boston:

Focal Press, 1989.

Tony Barr. Acting for the Camera.Toronto Allyn and Bacon,

1982.

James Naremore, Ictin

g

in the Cinema. Berkeley: University of

California Press

'

l 1988.

ilary Ellen O'Brien, Film Acting: The Techniaues and History of Acting

for the Camera. New York: Arco Publishing, 1983.

Christopher Luca, Directing f or Film and Television. Garden City:

Anchor Press. 1986.

.

5Cc,

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: Centre for the Arts

Abbreviation Code: FPA

?

,Couse No. :393 ?

Credit Hours: 3

Vector: 2-0-5

Title of Course: Techniques of Video

Calendar Description of Course: This is an intermediate course

that examines the complex technical basis of the video medium.

Emphasis is placed on the use of studio equipment, particularly

Video si

g

nal processing proedures. This course is a

corequsite for FPA 490-5 and a prerequisite for all directed

studies work in video..

Nature of Course: Lecture/Lab

Prerequisites (or special instructions): FPA 390 and permission

of the department

What course (courses), if any, is being dropped from the calendar

if this course is approved? None

2. Schedulin:

How frequently will the course be offered? Once a year.

Semester in which the course will first be offered: Fall 1990

Which of your present faculty would be available to make the

proposed offering possible? M.Smith, J.Levitin

3.

Objectives of the cour

se

:

To instruct students in principles and procedures of video signal

processing. Students will be given direct experience in problem-

solving procedures connected with the use of complex video

equipment.

N.B.. This course is intended to provide an adequate base of

technical information for those students who are considering

enrolling in FPA 497-5 or any directed studies course

incorporating complex use of video.

4.

Budgetary and Space Requirements (for information only):

What additional resources will' he required in the following

areas?

Faculty: None

57

---

Staff: None

Library: Non

Audio

Visual:

None

Space:

None

Equipment: None

Approval

Date:

64Ai< MI

Departient Chai\

^

(f 5 Jv ,S /

F

s:

El

---

SENATE COMMITTEE ON UNDERGRADUATE STUDIES

NEW COURSE PROPOSAL FORM

1.

Calendar Information ?

Department: Centre for the Arts

Abbreviation Code: FPA

?

Course No. :431

?

Credit Hours: 5

Vector: 1-2-5

Title of Course: Group Project in Film

Calendar Description of Course: Students will undertake projects

sponsored by non-profit arts or social groups, in order to gain

experience working in a semi-professional atmosphere. An

experienced producer from the regular faculty or the local film

community will supervise the work.

Nature of Course: Production

Prerequisites (or special instructions): FPA 331 and permission

of the department.

What course (courses), if any, is being dropped from the calendar

if this course is approved? FPA 431-5: Experimental Film

Production.

2. Scheduling:

.How frequently will the course be off er.ed? As sponsorship is

available.

Semester in which the course will first be offered: Summer 1990

Which of your present faculty would be available to make the

proposed offering possible? FI.Smith, P,Gruben, C.Browne,

.3 .Levitin

3.

Objectives of the course:

To gave students exposure to finnnaking in a professional setting.

To allow them to apply techniques and working methods appropriate

to larger-scale production than otherwise available to students.

4.

Budgetary and Space Requirements (for information only):

What additional resources will be required in the following

areas?

Faculty: None

Staff:

?

None

Library: None

?

0

(o

---

COURSE OUTLINE

FPA

393-3:

The Techniques of Video

Weekly Labs

CCD cameras/Signa1 Propagation /Recording Techniques

2

Post Production: The path of the signal and the patch bay

3

Basic Editing: both formats

4

Basic Trouble Shooting

5

Time Code/Time Base

6

colour Bar Generator/Waveform Monitor

7

Mid

L

Term Exam

8

Special Effects Generator and Advanced Patching

9

The 'Vectorscope/Audio Mix and Patch

10

Advanced Editing (AB Effects Editing)

11

Putting it all together for On-Line Post Production

12

Tour of Pinewood Studios

13

Tour of Gastown Productions

Finl Exam

Course Requirements:

Attendanc/ Work Habits

?

10

In-Class Assignments ?

30

Mid-Term'

?

30

Final Exani

?

30

Text:

None (Handouts provided)

59

---

Audio Visual: None

Space: None

Equipment: Any additional equi

p

ment required will be supplied by

the sponsor.

5. approval

[)ate:

De

Q&cc

p artment

?

?

r / e

?

I)

41

L'hair, SCUS

L

.

.

(2I

---

COURSE OULINE FOR FPA

4

31-5: GROUP FILMMAKING

Inasmuch as the requirements of the films to be produced in this course

vary so widely and are impossible to anticipate, the course outline and

schedule will have to be developed with the client as funding becomes

available. Projects in the past have had about one months notice before

semester begins.

Recommended tets

Society for American Cinematographers, Cinematographers Handbook.

Verne and Sylvia Carlson, Professional Lighting Handbook. Focal Press, 1985

Pat. P. Millar, Script Supervising and Film Continuity. Focal Press, 1986.

.

.

42

---

)

?

I

APPENDIX B

?

HYPOTHETICAL COURSE LOADING

?

FILM MAJOR ?

(Revised 28 August 89)

Based on the following anticipated Faculty as per 90/91:

Associate Professor Levitin (cross

WI W.S.)

Associate Professor Gruben ( 1/2 load)

Assistant Professor Browne

Visiting Assistant Professor Weisby

Lab Instructor Smith

Lecturer Rosenberg

Sessional Van der Zag

FALL ?

SPRING

136 Hist. & Aest,h. I -

Rosenberg ?

137 Hist. & Aesth.

II -

Rosenberg

230 Fundamentals of Film -

Weisby

?

231

Filmmaking I -

Welsby

236 Cinema in Canada -

Browne

?

233 Tech. of Film -

Sessional

237 Se!. Topics -

Rosenberg ?

238 Screenwriting - Gruben

390 Video -

Van der zag ?

337

Sel. Topics -

Rosenberg

330 Filmmaking II -

Weisby ?

331 Filmmaking III -

Weisby.

333 Adv. Cin./LUng. -

Smith ?

393 Tech. of Video -

Smith

335 Film Theory -

Levitin ?

432 Filmmaking V - Browne

339 Directing Actors -

Gruben

?

436 Seminar in Film -

Levitin

4

3

0

Filmmaking IV -

Browne

?

.

?

490 Adv. Video -

Van der Zag

SUMMER

431 Group Project -

Session' al*

*This sessional position will be paid for by the films sponsor.

43

---

[I

APPENDIX C ?

TYPICAL COURSE STREAMING

?

Film Major

FALL

?

SPRING

First Year

FPA

136-3

History of Film I

C/Arts Studio Elective

Elective

Elective

Elective

Second Year

FPA

230-5 Fundamentals of Film

2

38-3

Film Elective

Elective

Elective

Elective

Third Year

FPA

330-5

Filmmaking II

335-3

Film Theory

333-3

Film' Elective

Elective

Elective

FPA

137-3

History of Film II

C/Arts History Elective

Elective

Elective

Elective

FPA

231-3

Filmmaking I

2

33-

2

Techniques of Film

Elective

Elective

Elective

FPA

33 1-5

Filmmaking III

337-3

Film Elective

310-5

Arts in Context

Elective

Fourth Year

FPA

430-5

Filmmaking IV

43

6

-5

Film Elective

Elective

Elective

FPA

432-5

Filmmaking V

Elective

Elective

Elective

Elective

44L

---

APPENDIX

CAPITAL REQUESTS: FILM AREA

?

1989-90

The following items were submitted to Dean Brown in March 1989

independently of the Film Major proposal as part of our regular capital

request in the Filth Area. As noted by our Assistant Director John

MacFarlane in a memo to the Dean of March 17, "In the light of the current

optimism over capital matters, I have changed the nature of our request.

Usually I cut the d

y

er 10,000 items down to the smallest possible packages

that therefore might have some chance of being funded in times of austerity.

This time I have decided to put forward complete replacement and

development packages in order to give you a better understanding of the

Centres actual capital needs .... These requests can again be split up if the

optimism turns ott to be unwarranted."

This list therefore also represents our most optimistic request for

emergent funding to support the Film Major. As noted in the proposal, the

Major itself requiies little in the way of additional capital beyond what we

need to support the existing Concentration in Film; the difference results

more from eventual attrition through increased usage.

ITEMS $10000 AND UNDER:

?

PRIORITY ONE:

FILM

PURCHASES ?

-

?

$10000

Due to the nature of its programs, the Centre is a heavy user of films and

videos for instructional purposes. There are many difficulties associated

with obtaining numerous titles on a rental basis - some are simply not

available for rental in Canada, for some the available print is of poor quality,

or there are so few prints available in Canada that it is difficult to obtain the

title when needed. Furthermore, the ever-present possibility of the IMC

reverting to a weekly rental quota, and the dramatic increase in the rental

charges for films (let alone increased fees for multiple screenings) has made

it important that the Centre purchase titles which are frequently used in FPA

courses.

?

I

The Centre has, irbm time to time and for a number of years, purchased

titles when they and the funds were available and for the last three years,

the Centre has made a concerted effort to purchase titles which are routinely

S

used in FPA courses. Now we find that some titles which were purchased in

the early years of the Centre appear to be of questionable origin and are,

therefore, virtually unusable for copyright reasons. It is urgent that those

---

titles which were purchased long ago be replaced through distributors which

c:a.Ii offer and document performance rights.

Because of the cost of film prints nd videos ($1,000-4,000 for a feature film

and $500-3,000 for an experimental film) it is not practicable to attempt to

purchase such items within the operating budget. The Centre is requesting

capital funding of $10000 this year and for three years hereafter, with

which to purchase titles and performance rights as replacement for items

which we now consider unusable.

FILM EQUIPMENT

2-"C"

Stands with accessories

1 -Arriflex 9.5 wide-angle lens

4-Sets Lowell clamps and mounts

10-10" Fresnel 1k lamps

1 -Bolex EBM 16mm Camera w/Zoom

1-Doorway Dolly

1-Projector Cart

1 -Eiki slot load projector

1 -Arriflex time code module

1-Case foam core

1-Laser disc player

6-Arri 300W fresnels (lighting instruments)

3-Spot Meters

3-Incident light meters

2 -Miller Sr. Tripods

TOTAL: 50,390

1,200

7,000 ?

800 ?

9,000

?

6,000 ?

5,000 ?

150

?

1,800

?

7,500

240

3,500

3,000

750

450

4,000

All of this equipment replaces or augments our existing film equipment,

many components of which come from the SFU Film Workshop which

predates the Centre for the Arts.

DEPARTMENTAL VIDEO EQUIPMENT

4-VHS Camcorders (AG- 170)

4-Tripods

1 -Portable VHS System WI Monitor

1-3/4" Video Playback machine

3-26" colour monitor

3-10" studio monitors

4-Ni-Cad Battery packs

1 -Chroma Key Generator

1-Audio Mixer for video

1-Edit Lister System (on-line edit management)

TOTAL: $34,320

8,300

1,600

4,000

3,500

2,400

2,100

420

3,000

2,000

7,000

---

This equipment request is, most importantly, an attempt to deal with three

problems that eidsi in film and video production: (1) Increased use of video

due to the rapid decline of various film stocks and formats, (2) The need for

time -code systemsto integrate visual and auditory material and

(3)

continuation of ourf ongoing replacement of our aging and/or outmoded

equipment. In particular, much of the lighting gear and camera accessory

equipment is over 10 years old.

FILM EQUIPMENT

?

PRIORITY TWO:

T_&z

.

4-Sets of Flags

and

Cutters (light control devices)

I -Tripod Spreader

I -Pkg. Camera Filters

3-lanaro 2K fresnel Lights

1 -Arri Variable speed motor control

2 -olex Rex- 5 Cameras (used)

1 -Arri St Camera (used)

I -Reel to reel tape recorder

1 -EFX Procssor

2-Sony DAT recorders

1 -Compressor/ Limiter

1-Audio Mixer

2 -Wireless Microphones

I -VHS Hi-Fi deck and Smpts synchronizer

1 -Fostex 8 track recorder

1 -Fostox

4050

synchronizer

2 -Sennheiser M E 80 microphones

2-Sony Walkman Pro (l@6Ohz, 1@59.95hz)

1-Compact disc player

1-CD sound effects library

I UI L1t),Q)U

400

350

400

3,600

4,000

3,000

5,000

2,000

1,500

6,000

1,500

1,700

3,200

2,000

5,000

1,500

1,400

2,200

600

1,500

67

---

VIDEO EQUIPMENT

?

TOTAL:$12,200

1 -Miniature Video Camera and UHF Transmitter

?

3,500

1-IBM XT w 20 meg Hard Drive

?

3,000

1 -Enscriber Character Generator Software Pkg.

?

3,700

1 -NTSC Pattern Generator

?

2,000

EQUIPMENT REQUESTS OVER S 10.000

?

PRIORITY ONE

SYNC CAMERA PACKAGE to include one Eclair or Arriflex 16mm camera

(used) and one Nagra IV TC audio recorder (new)

$50,500

Description of use:

Production 0116mm sync sound film in the

upper division of the Film program and for research. This model of

Nagra will add the capability of synchronizing time code recording.

Justification:

Replacement for one of the existing camera packages,

now 14 years old. The current package is approaching the end of its

service life. This device will allow us to begin the process of

sycnchronizing and integrating film, video and audio media, thus

bringing

the current

the

industry

production

standard.

programs in these areas in line with what is

?

is

2. ?

VIDEO POST PRODUCTION PACKAGE: including

3

/4 "SP editing system,

?

Echolab DV-5 switcher, time base correctors, and accessories

$86,000

Description of use:

Video post production system for completion of

finishedvideo programming; allows for sophisticated computer

controlled editing functions and control of special effects

Justification:

The Centre is experiencing increasing demand for

video equipment and instruction in all areas of teaching and research.

No other department of the university teaches in this steadily growing

field and we are increasingly involved in the production of video art.

In addition, there is a deepening connection between video and film

with video technologies becoming increasingly important in film

production. Finally, it is clear that some film formats are and will

increasingly be replaced by video.

69

---

3.

Sony DXC 3O00 VIDEO CAMERA PACKAGE

$22,000

Description of use:

Video Camera used for field production of

3/4"

videotape

Justification:

The Centre is experiencing increasing demand for

video equipment and instruction in all areas of teaching and research.

No other department of the university teaches in this steadily growing

field and we are increasingly involved in the production of video art.

In addition, there is a deepening connection between video and film

with video technologies becoming increasingly important in film

production. Finally, it is clear that some film formats are and will

increasingly

,

be replaced by video

4. ARRIFLEXVItiEOTAP

?

$15,000

Description of use:

When coupled to our existing Arriflex film

camera, alldws off-line video viewing and recording.

.

?

Justificati)n:

Because of our declared interest in video and the

increased

C0

1

St of film,we hope to be able to install this piece of

equipment as a bridge between the two formats. The video tap allows

instant viewing of the image before it is recorded on filrnand

therefore facilitates rehearsing of camera movements. It also

provides a strong communication link between the camera operator

and the director. In addition the output of the tap can be recorded

and viewed

1

in advance of editing or even developing, for greater

efficency and cost savings.

C

---

.

?

APPENDIX E:

FILM MAJORS AT OTHER UNIVERSITIES

Below is a summary of film majors at several Canadian and U.S.

universities. None of the programs is quite like the one we propose for SFU

based on our own experience and consultation with students over the last

several years. A comparison of programs will reveal a great diversity in

credit requirements; degree granted (BA vs. BFA vs. BAA); relationship of

cinema studies to film production; film vs. video production; fine-art vs.

media-studies orientation. etc. However, the substantive university film

programs do have in common a requirement of 60 - 70 credit

UNIVERSITY OF BRITISH COLUMBIA

UBC offers, through its Theatre Department, a B.A. in Theatre

(Film/Television) and a Diploma in Film/Television Studies.

?

Students in the 4-

?

year Film/Television' Major program are required to take the equivalent of 6

Lower Division Film/Television credits and 48 Upper Division Film/Television

credits consisting of both production and Film/Television studies courses.

?

The

• ?

Diploma is a two-year part-time program requiring the equivalent of 36

Film/Television credits. UBC also offers an M.A. in Film/Television and an

M.F.A. in Film/Television Production.

UNIVERSITY OF CALIFORNIA AT LOS ANGELES

UCLA has one of the largest and most highly regarded film

programmes in the United States. The B.A. Major in Motion Picture/

Television consits of 68 upper division units taken in the junior and senior

years (of a total 160 units for the four years). Application for the Major is

made just before the junior year, and requires 56 units of credit, with

completion of general University and College of Fine Art requirements.

CONCORDIA UNIVERSITY

Concordia hasone of the two most comprehensive and established

university film programs in Canada (the other is at York). Ordinarily a

student wishing to major in Film at Concordia will first spend two years at a

CEGEP with a comprehensive Film Studies and Production program, such as

Vanier College. The B.F.A. with a Film Major at Concordia itself requires 48

credits of coursework in film studies and production over three years, in

addition to the CEGEP credits. A Specialization in Film consists of 66 credits in

addition to CEGEP requirements.

---

QUEENS UNIVERSITY

Queens offers a four-year Honours B.A. in Film, combining critical

studies and production courses. Assuming 6 credits per full-year course, the

requirements are 30 hours Lower Division, 36 hours Upper Division for a

total of 66.

UNIVERSITY OF REGINA

Regina offers a four-year B.F.A. in Film and Video. Information on

credit hours for each course was unavailable, but assuming

3

hours for each

course (production courses are often worth more credits), the requirements

add up to 2 1 credits in Lower Division, 45 credits in Upper Division for a

minimum total of 66.

RYER SON P0 LYTECHN I CAL INSTITUTE

Although Ryerson does not confer the B.A., it is described here for

purposes of comparison, as many students considering university choose to

go there instead. Its intensive Photographic Arts programme is so large that,

even though production and technical work are emphasized, the school offers

more critical studies courses than the typical college or even university film

program

The program most appropriate for comparison to ours is the Bachelor

of Applied Arts Degree in Motion Picture Studies (PHMP). The first year

involves a full load of 27 credits in design, theory, and technique courses.

The second and third years each require 17 credits in film courses; 6 credits

in liberal arts and science electives. The fourth year includes 15 credits in

film; 6 credits in liberal arts and sciences. The total for four years is 76

c:redits in Film Studies and Production (44 Lower Division, 32 Upper

Division); and 18 credits outside the discipline.

UNIVERSITY OF WINDSOR

Windsor offers a B.A. Major and Honours Major in Communication

Studies. The Major is a three-year program (like all Ontario universities

which expect completion of Grade 13); the Honours Major is four years. The

Major requires the equivalent of 12 hours of specific Communication courses;

electives in the department fill the remaining requirements. A student

specializing in Film could take a combination of Film Studies and Production

courses to fill these requirements for a total of 30 hours. Thus the three-year

Major requires 36 hours of Communications Studies. The four-year Honours

Program includes 3 specific Communication courses and 7 departmental

electives that could be filled by Film courses, for a minimum total of 60

hours.

-if

---

YORK UNIVERSITY

Because it is in Ontario, the regular B.A. or B.F.A. requires only three

years of study, or 15 full courses; the Honours BA. or B.F.A. is 20 courses.

The catalogue recommends the Honours B.A./B.F.A.; there is virtually no

mention of a three-year course of study in film.

The B.A. is granted for primary

dy

stu

in history, theory and criticism; the

B.F.A. for primary study in studio, performance and production.

Honours (four-year) B.A./B.F.A. in Film: Ten full-year courses in Fine Arts; of

these ten, eight (4 credit hours) must be in Film.

la

---

TECHNICAL THEATRE COURSES - 1989

Rationale:

Interest in the basics of theatre technology is widespread. We have been

unable

to

accommodate large waiting lists in each of the past three

semesters the FPA 170 course has been offered, already having raised the

enrollment ceiling for this course in the Spring of 1988.

Currently, there is little organized continuation possible in our technical

theatre offerings for students who desire more than basic training in

technical theatre. At present we can provide only the briefest of

introductions to the field within the 13 week time constraint of FPA 170 and

all further work is in the upper division. However, we will be able to

provide a more comprehensive program for our students by introducing two

new courses into the curriculum.

By alternating the courses in the fall and spring semesters, our current

faculty. John Macfarlane and Barry Hegland will be able to teach the two

new courses with the assistance of the existing sessional who works with the

productions.

?

0

Finally, these additions will also allow us to modify the content of two other

c:ourses (FPA 170 and 370). In each course we could give a more in-depth

treatment of a narrower range of the field.

I ]l

13

---

NEW COURSE PROPOSAL FORM

Calendar Information

Abbreviation Code: FPA

?

Course Number: 171

?

Credit Hours:

3. ?

Vector: 0 - 4 -2

Title of Course: Introduction to Production Management.

Calendar Description of Course: An introduction to the management, and organization of

theatrical production. This course will provide a grounding for students who wish to become

further involved in the administration of the performing arts and will include practical

experience.

Nature of Course: seminar/ open lab

Prerequisites (or special instructions): none

What course (courses), if

,

any, is being dropped from the calendar if this course is

approved.-none

2. ?

Scheduling

How frequently will the course be offered? once per year

Semester in which the course will first be offered? 1991- 1

Which of your present faculty would he available to make the proposed offering

possible? B. Hegland. J. Mcfar1ane

Objectives of the Coure:

This course will serve as an introduction to the administrative,

managerial, and organizational aspects of the performing arts. It will provide a grounding for

students interested in further study in technical theatre and for those oriented toward

independent production. The course will contain a practicum component, with students

required to take on administrative, publicity, or stage managerial responsibilities for

productions as part of the course load.

4.

Budgetary and Space Requirements (for information only)

What additional resources will be required in the following areas:

Faculty: none

Staff: none

Library: none

Audio Visual: none

Space: none

Equipment: none

5.

Approval

Date:

w 1

,'fiepartment wiairman

fro/4

ean

'n

Ctiairman, SCtJS

---

.

EPA 171-3

SPRING 1990

INSTRUCTORS-B.

HEG LAND, J

.

MACFAR LANE

COURSE DESCRIPTION

FPA 171 introduces stage management and production administration.in

the

performing arts. FPA 171 will use both academic theatre and independent

professional productions as models and subjects of investigation.

COURSE OUTLINE

The history of technical theatre and stage management

The role and methodology of the Stage Manager

The role and methodology of the Technical Director

The role and methodology of the Production Manager

The relationship of the design and technical personnel

The organization of the production team

Director /designer, director /technical roles and variations

Budgeting and costing live performances; the scope of overall financial

planning for staged productions.

Theatre/company administration models and variations

Audience Development and Publicity; getting audiences to view the

wcrk.

Alternative theatre /performance venues and their problems

Performance values

COURSE REQUIREMENTS

There is no prerequisite for FPA 171. Along with a one two hour lecture and

a two hour lab per week this course carries a practicurn component, with

students expected to take on administrative, publicity, or assistant stage

managerial responsibilities for Centre for the Arts productions as part of the

course load. In turn the various experiences and problems encountered

during these practicum hours will serve as fuel for discussion during class

times. Student evaluation will be based on practicum involvement, written

assignments, plus a final exam.

RECOMMENDED TEXTS

Stage Management-A Guidebook of Practical Techniques- Lawrence Stern

The Stage Managers Handbook- Bert Gruver (rev. Frank Hamilton)

Theatre Administration- Frances Reid

.

0

---

W,

k I a.

?

0_'Allsr

Approval

--

Date:

NEW COURSE PROPOSAL FORM

Calendar Information

Abbreviation Code: FPA

?

Course Number: 270

?

Credit Hours:

3. ?

Vector: 2 - 0 -4

Title of Course: Technical, Theatre

Calendar Description of Course: For students who have gained a basic familiarity with technical

theatre.

The

course will offer continued training in staging, audio and

lighting

for theatre, dance

and music presentations.

Nature of Course: lecture! lab

Prerequisites (or special instructions): FPA 170

What. course (courses), if any, is being dropped from the calendar if this course is

approved: none

2.

?

Scheduling

How frequently will the course be offered? once per year

Semester in which the course will first be offered? 1990-3

Which of your present faculty would be available to make the proposed offering

possible? B. Hegland, J. Macfarlane

,t..:_.

uujecuves

_:_._

01

-

i.ne

.. .._

.ourse:

-........

me course

...................-

will..

otter an intermediate level of training in selected

areas of production support for theatrical and dance presentations. The focus of the study will

oe staging, audio and lighting. This class will contain a practicum component, with students

required to take on technical responsibilities for productions as part of the course load.

Budgetary and Space Requirements (for information only)

What additional resources will be required in the following areas:

Faculty: none

Staff: none

Library: none

Audio Visual: none

Space: none

Equipment: none

S

4

X

Department Chairman

?

Dean

?

Chairman, SCUS

-7'

---

FPA 270-3

FALL 1989

?

0

INSTRUCTORS-B. Hegland, J

.

Macfarlane

COURSE DESCRIPTION

FPA 270

will offer advanced instruction in specific areas of performance

technology: stage mechanics and rigging, live audio mixing and preparation,

and lighting systems for music, theatre and dance.

COURSE OUTLINE

Stage drafting basics

Stage mechanics; Fly systems, stage rigging and flown scenery,

Revolves, wagons, hydraulics, pneumatics, and their use in scenery

Advanced scenic construction; metalwork, welding, plastics and

thermo-plastics in props and scenery

Basic electronics for theatrical sound systems.

Recording and editing techniques; Digital sound

Microphones and miking techniques

History and development of lighting controls and dimmers.

Electricity and electrical principles

Theatrical lighting instrument design

&.

function

Operation of manual and computer controlled lighting systems

Projections and reflective surfaces

COURSE REQUIREMENTS

The class will consist of one two hour lecture and a four hour lab per week.

Each student will be required to undertake practical work on Centre for the

Arts productions mounted during that semester. As well, technical problems

posed by upcoming Public Events offerings will serve be discussed. Students

will be evaluated on the basis of participation in practicum and labs plus a

final examination.

PREREQUISITES

Successful completion of FPA 170 plus permission of the department.

REQUIRED TEXT

Scenic Design, Stage Lighting, Sound. Costume & Makeup-Willard F.Bellman

RECOMMENDED TEXTS

Stage Rigging Handbook-Jay 0. Glerum

Stage Sound-David Collisoni (if available)

S

77