Minor in Producing

A study of the origins of the performing arts and entertainment industries in America at the beginning of the 20th Century, and the alchemy that was created when new technologies in film and sound recording were introduced. This course will attempt to track the American entertainment industry from its plebian origins through its rise to becoming the predominant mass entertainment culture in the world. The class will discover the origins of the production practices that are employed in the entertainment industry today by following the legendary characters, movie moguls and media titans of the early 20^th Century, and the companies they built. The emphasis will be on the way the visionaries of the time impacted seemingly risk-averse systems to invigorate and sometimes completely revolutionize them. These innovative men and women include Louis B. Mayer, George Lucas, Maya Deren, Shirley Clark, Alan Landsberg, Nam Jun Paik, Lucille Ball, Russell Simmons, Robert Stigwood, Clive Davis, Julie Taymor, Robert Whitehead and Steve Jobs. 

There is a need for quality producers in all of today’s major creative fields: film, television, music, theatre, dance and new media. A producer with a firm knowledge of the craft, a discerning eye for material, fundraising ability, a grasp of the law, cash flow, people and ethics, is rare. This is a specialized course designed to provide students with a framework for understanding the dynamics of producing – as an art form and a business profession – and for completing a creative product in the entertainment & media industries. Students are introduced to the basic concepts, terms, and principles that apply to the role of producer in the entertainment & media industries along with the specific job functions that are required to effectively and efficiently complete a production. The course aims to build a body of knowledge and information through understanding the various disciplines that cut across all the competencies required for the producer to effectively function as a key member and in most cases, the leader of the creative and business team, assembled to complete a project.

From Shakespeare’s era to the present day, writers and other artists have created new works by using other art-forms as source material. This practice is especially true for film and television, where the source material can come from a novel or play, a video game or comic book, an historical event or even a blog or trashy headline. We will explore a variety of practices in the art of adaptation--as it relates to movies and TV--and apply them to an adaptation that students will develop over the course of the semester, resulting in a treatment for a film or television show. Through case studies, exercises and in-class discussion, we will refine and develop students’ work to its greatest potential. We will compare early drafts of award-winning screenplays with their original source material and the final shooting scripts, hopefully gaining insight into the iterative process of adaptation and the challenges and creative insights that the filmmakers discovered along the way. We'll also explore practical issues like options, rights, collaborations, intellectual property laws and licenses, etc.

This course is designed to provide both business and films students with a systematic overview of the modern day filmed entertainment business. The course covers the traditional “Hollywood System” operating out of Los Angeles and also examine the independent film model.. The course takes a critical look at the financing, production, marketing and distribution of filmed entertainment. Particular attention is focused on the various revenue streams inherent in the exploitation of such product both in the domestic marketplace and in the international arena. The primary objective of the course is to provide students with real life experiences, the practical realities, and a keen understanding of how things actually work in the film business. The course will hopefully provide students with a requisite background and orientation that can lead to an entry level position with a film production or distribution company, an international sales organization, or related support organizations.

    

A specialized EMT course within the Berkley Center for Entrepreneurial Studies designed to provide students with a framework for understanding the dynamics of producing (as a business profession) a finished creative product in the entertainment and media industries, developing a business model, and generating an income stream to repay and provide investors with a profit. Educates the student in the process of feature film and long-form television production from the initial concept of the story, through script development, to completion of the project. Covers the most important steps in the production of an independent film, a studio project, a network TV or cable show, a radio program, a Broadway production, and an advertising television commercial. Explores all the elements a producer must know, understand, and eventually become skilled with through mastery of development, including script selection, finance, budgeting, timetable development, team building, talent selection, sales, contract and union negotiation, regulations, technology, and other relevant core competencies.

Casting is the most recently recognized profession in film and theater. In this course, students learn how to cast a film and learn the skills casting directors employ to become indispensable members of any production, including script and character analysis, scheduling, and negotiation. Students develop protocols for evaluating resumes and auditions, and learn strategies for communicating with directors and producers to ensure the talent pool has been effectively identified. Techniques for delivering convincing and fruitful casting sessions before learning to close deals between producers, actors and agents also are presented.

This class will also make students ‘audition ready’ -- equipping them with tools and techniques to better understand and get through the audition process.  The course will cover the various disciplines of theater, films, commercials and voiceovers. Through lectures, character exercises and workshops students will learn strategies for preparing for an audition, developing characters, and working with professionals in the industry.

This course is about the struggle between commerce and art in the worlds of film, television, theatre, music and new technologies.  It provides students with a framework for understanding the dynamics and various routes to raising funds for artistic endeavors.  The students will learn about basic financial tools and structures as well as exploring traditional and non-traditional fundraising and financing techniques.  This course will allow students to develop a general understanding of fundraising and financing the entertainment world and refining the creative skills necessary to develop proposals that allow the student to one day realize her or his creative vision, build a career, and establish themselves as an entrepreneur.  

One video can be worth a thousand backers in the digital age. Successful videos have raised millions of dollars for projects on crowdfunding sites like Kickstarter and Indiegogo. This type of online fundraising is a whole new way for individuals to raise money. It is venture capital with no strings attached – direct donations not just to a philanthropic cause, but to business ventures as well. By donating online, people are sharing in the creation of marketable ideas and projects.

Online crowdfunding is changing the shape of business innovation - and this class will explore all the techniques used to create a successful crowdfunding video that can capture interest and generate financial backers. Crowdfunding Video Production is an intensive course combining lectures and creative workshops to explore online fundraising for inventions, business ideas, artistic projects, social activism, scientific research, and community projects. Lectures provide students with an overview of the Crowdfunding industry and basic filmmaking, while practical workshops help the students conceive and create their own Crowdfunding Video. Students with existing personal projects can choose to post their videos on an actual crowdfunding campaign website - like Kickstarter. Students who do not have an existing project will create a mock campaign on a practice site, in order to produce a practice Crowdfunding Video. Students learn filmmaking techniques in class and then go on to shoot outside class, designing a simple attainable production.

As the students produce their Crowdfunding Video, they learn by doing. The goal is to provide practical knowledge of the art, craft, and commerce of Crowdfunding Videos - concentrating on how their media presentations hook the audience and sell the project. Students will learn the business vocabulary of advertising and marketing - while they also conceive, create, produce, and direct their own Crowdfunding Video (or practice Crowdfunding Video).

Prerequisite: MKTG-UB 1. Spring

This course is an introduction to the world of entertainment from the perspective of the Chief Financial Officer. It is designed so that the students will attain a basic financial understanding of a variety of entertainment subcategories including film, television, music, cable, and the internet. Prior knowledge of the entertainment industry or finance is not assumed. Each area of entertainment has a unique structure and language and is a prerequisite to the application of financial thinking. Upon the completion of this course, the student should have an understanding of the structure, language, and financial considerations of each of the entertainment sectors presented. In addition to text materials, real life examples will be presented and will include vignettes ranging from films such as Titanic and Apollo 13 to television commercials to internet successes and failures. Accounting and finance principles will be introduced and applied throughout the course.

Prerequisite: MKTG-UB 1 or permission of instructor. Fall and Spring

Provides students with a framework for understanding key marketing issues facing organizations in the entertainment industry. Establishes a basis for the formulation of marketing tactics and strategies for firms competing for consumers' discretionary spending. Covers recent developments in major sectors of the entertainment industry, including movies, television and cable, and theatre and sports. Examines issues that cut across all types of entertainment marketing, including licensing and promotion. Uses case studies and projects.

MAJORS ONLY - Department non-major form must be submitted for approval to enroll.

Survey of Styles in American and World Cinema

Our goal is to study films that tell their stories in an unconventional way, offering us different models for our storytelling. Our list of films is a list of American and World cinema from the 1950s to as recently as 2010. We will examine these films to study how the core elements of dramatic storytelling-- a protagonist in a situation who undertakes a story purpose that engenders conflict and complications-- are deployed in these different storytelling styles and how we can enrich our own approach. We will also compare traditional and modern approaches to film storytelling in general. This means we will especially note how films are visualized, noting the use of elements that we may overlook as screenwriters who sometimes think more about plot and dialogue than about pictures, image-flow, sound and movement in general. This will also lead us to think more about how time and space and mood are used; elements that are critical to the realization and visceral impact of the film-story as dream, even though they are not explicitly narrative elements. A tentative film list follows: Virdiana (Buñuel, Spain/France), The Conformist (Bertolucci, Italy), Amelie (Jean-Pierre Jeunet, France), Talk to Her (Almodovar, Spain), Minnie and Moskowitz, (Cassavetes, USA), Crimes and Misdemeanors (Allen, USA), Like Water for Chocolate (Alfonso Arau, Mexico), Tokyo Story (Ozu, Japan), Blue (Kieslowski, Poland/France), 4 Months, 3 Weeks and 2 Days (Mungui, Romania), Pan’s Labyrinth (Del Toro, Mexico), The Dark Knight (Nolan, U.S.A.) The Hurt Locker (Bigelow, USA), Time of the Gypsies (Kusturica, Serbia), Xala (Sembene, Senegal), The Big Lebowski (Cohen Bros., USA).  

Images of the Other in Film

Foremost in this course will be an analysis of Black stereotypes that have recently appeared in American films and television-- and the manner in which those stereotypes have reflected the nation’s social/political attitudes and outlooks on race and gender during specific periods. The course will also explore the unique "personal statements" and "star personas" of such screen artists as Sidney Poitier, Dorothy Dandridge, Paul Robeson, Ethel Waters, Richard Pryor, Bill Cosby, Eddie Murphy and Whoopi Goldberg, as well as the work of African American Directors such as Oscar Micheaux and Spike Lee. The films studied will include THE BIRTH OF A NATION (1915), SHOW BOAT (1936), CABIN IN THE SKY (1943), INTRUDER IN THE DUST (1949), PINKY (1949), THE DEFIANT ONES (1958), IMITATION OF LIFE (1959), SUPER FLY (1972), THE COLOR PURPLE (1985), DRIVING MISS DAISY (1989), NEW JACK CITY (1990), GHOST (1990), TO SLEEP WITH ANGER (1990),DAUGHTERS OF THE DUST (1991), THE LETHAL WEAPON SERIES, BOOMERANG (1992), as well as various television series. 

This course de-mystifies the film development process and teaches students the key tools necessary for a successful career as a film executive or producer.  This course will chart the key stages of finding and preparing a good script for production. These steps include how to find, evaluate and shape material from the producer's perspective. Students will learn the practical art of writing script coverage and notes, as well as how to establish a tracking group and develop tracking reports for new material. Other topics include the role of key players in the process, such as agents and studio executives, and how to avoid "development hell." 

This course is unavailable for the 2021-2022 academic year.

How am I going to fund my project? What are the funding sources available to me? What type of funding works best for my music venture idea? These are among the range of challenges that every creative entrepreneur faces when planning the startup of a new music venture. The good news is that there is money out there and there are more opportunities than ever for music entrepreneurs to fund their start up music ventures. Having the ability to find and leverage funding opportunities is a skill that every music entrepreneur must have to succeed. This course proposes to demystify the funding process and provides an overview of the main sources of music business funding: grants, investments, crowdfunding, friends & family, and bootstrapping, among others. Among the course topics that will be covered are choosing the right funding option for your needs and understanding the range of music funding sources and how to access them. The course will culminate with a blend of readings, class discussions, collaborative projects and guest speakers from different parts of the music funding world. Students will, by the end, have the knowledge and a strategic plan they can execute to approach funders and find funding for their music venture ideas.

Prerequisite: Sophomore standing.

Provides a framework for understanding the global expansion of media and entertainment companies. It contrasts the impact on the U.S. economy due to the significant export growth of American leisure products and services. Prepares students through the analysis of several leading entertainment and media multinational companies, and the development of their entertainment businesses within the major world economic zones. International speakers, special cases and readings are included.

This course will introduce students to a variety of 20th century theatrical productions staged during times of conflict and crisis.  From the amateur stages made out of restaurant backrooms, street corners, and cafes to the professional Broadway theaters, we will look at how access to resources and government support influences strategies of production.  From the 1920’s agitation trials (Agitsud), mass spectacles, and agitprop theater during the Russian Revolution to contemporary theatrical responses to disease, war, racism, and social oppression the course will examine how theater has been used as a reaction to social and political unrest, as a tool to fight oppression (or a tool to encourage obedience and propagate national political ideals), and as a respite from hardship.  We will look at the performance theories  and strategies that emerged during these theatrical moments, and we will read seminal plays that were written and staged during these periods.  Throughout the course we will ask the question, “Why is theater often used as a response to crisis?” In addition to the historical and theoretical work the course will have a practical component.  Students will be asked to imagine how he or she would produce a theatrical response to either a contemporary crisis (i.e. the war in Afghanistan and Iraq, marriage equality, abortion rights, health care reform…etc) or a historical crisis (i.e. Civil Rights, Vietnam War, sexual liberation, Women’s Rights…etc..).  Finally, we will look at how the artists’ and activists’ access to resources influences the methods and products of theatrical production, and how restrictions can often open doors to new and inventive performance technologies.

Impact Producing is an emerging field in the film industry that uses issue-driven films as catalysts to create social, political, or cultural change through advocacy and engagement. Just as films have producers to manage the creative and financial process from script to screen, they also increasingly need Impact Producers to take the film campaign from production to impact. This hands-on class will guide participants through the essentials for becoming an Impact Producer by identifying key skills and goals. Participants will learn the scope of work necessary for building allies and partnerships, creating and measuring successful campaigns, and transforming passion for social change into a viable career path. Each semester the class will work in groups to create an actual impact strategy for a film in current release as a final project.

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

This course will introduce students to the fundamentals of web design and production. It will provide students with a basic understanding of HTML page construction, designing and optimizing graphics for the web and basic technical skills necessary for getting the student and his/her site online. Using the internet as a promotion and distribution medium will also be discussed.

Please note there is a non-refundable $375 fee for this course.

Behind the scenes internships in the New York theatre, film, and television industries.

Open to current Tisch Drama majors ONLY.

    The course combines lectures on the basics of feature length screenwriting with the development of the student’s own writing work. Students are required to complete 50-70 pages of a full length screenplay with an outline of the rest. The students study story structure, conflict, and character, in conjunction with the screening and study of several classic films and screenplays. The writing process starts in the first month with a focus on exercises to help students develop five story ideas with the complexity and depth to sustain a full-length screenplay. One of these ideas will serve as the basis for the required work. Each idea can be described in one or two paragraphs. Special instructions: All students must come to the first class with three ideas for full-length screenplays.

Prerequisites: V31.0001 and V31.0002 Fall, Spring, and Summer

Evaluates, from the management point of view, marketing as a system for the satisfaction of human wants and a catalyst of business activity. Deals with the subject at all levels from producer to consumer and emphasizes the planning required for the efficient use of marketing tools in the development and expansion of markets. Concentrates on the principles, functions, and tools of marketing, including quantitative methods. Utilizes cases to develop a problem-solving ability in dealing with specific areas.

SPRING SEMESTERS ONLY

Prerequisites: Foundations

This course is designed to acquaint students with the basic protections and restrictions of the law as they apply to the media, as well as the ethical problems and dilemmas journalists face. First Amendment rights and legal and ethical responsibilities and limitations will be examined and discussed. The course will look at these questions from five viewpoints: from (i) the practical view of a journalist doing his job with (ii) heavy consideration of ethical imperatives, and (iii) from a legal prospective, all the while (iv) considering the rules in a public policy context -- are they fair and appropriate in our society? -- while (v) noting the historical context in which they arise. Significant court cases and fundamental legal rules as well as past ethical scandals and issues will be explored in the context of political and historical realities, and in terms of journalistic standards and practices; contemporary media law issues and ethical problems and guidelines will also be focused on. Among the basic First Amendment issues which will be examined are libel, invasion of privacy, prior restraints, newsgathering and newsgathering torts, and the reporter's privilege; some of the ethical issues to be explored include objectivity in reporting, bias and transparency, conflicts of interest, and fair dealings with subjects, sources and advertisers.

This course consists of one lecture per week and one recitation section. Students must register for both the lecture AND a specific recitation section and attend the lecture and that section each week.

Prerequisites: None

This is a multi-topic course. Check Albert to see which topic is being offered in a given semester. Examples of topics under this course banner are below.

Minorities and the Media
Why do we think that way? What do we mean by "women" and "men"? If you were a visiting anthropologist from Mars, how could you use our culture's media to understand our ideas about gender? Women & the Media is a collaborative seminar that examines the complex relationship (or different contradictory relationships) between those humans we call "women" and those forms of discourse we call "media." We will consider women both as subjects and objects, as artists and models, as creators of "media" in its many forms and as media's creations. What does our culture's "media" tell us about how we read gender? What, if anything, does our gender tell us about our readings of "media"? Student participation in this seminar is key: students are expected to attend all sessions, to complete all the reading (there's lots of reading!), to participate actively in discussion, and to lead one of the class sessions themselves. Leading a class means opening the day's conversation with a presentation, critiquing and elaborating on the assigned reading, bringing in additional relevant material, and suggesting questions or issues that seem particularly interesting or troublesome. The purpose of the course is to develop our critical and self-critical faculties as journalists, media critics, consumers of media, and women or men; to think clearly, challenge our pet assumptions, and have fun. 

Women in the Media

A collaborative seminar designed to examine the complex relationship (or different, contradictory relationships) between those humans we call “women” and those forms of discourse we call “media.” We will consider women both as subjects and objects, as artists and models, as creators of “media” in its many forms and as media’s creations. What does our culture’s “media” tell us about its ideas of gender?      

What, if anything, does our gender tell us about our readings of “media?"

This course is unavailable for the 2021-2022 academic year.

The intention of this course is to expand students’ knowledge about leadership and their leadership skills in preparation for their assumption of music industry leadership roles. It is geared to all students who aspire to lead, whether as musician, performer, critic, fan, influencer, entrepreneur or within an organizational context.  This course focuses on the skills and competencies necessary for effective leadership and how they can be developed and applied to the pursuit of students’ personal and professional goals in music. Students will meet successful leaders across the music industry, learn about the complex moral, ethical challenges they face, and distill important lessons that they can be apply to leadership challenges they may confront in the future. By the end, students are equipped with increased self-confidence, and an understanding of their leadership strengths that will better prepare them when presented with the first opportunity to lead.

This course explores central themes and challenges in the leadership and management of theatre organizations in the 20^th and 21^st century from a global perspective. The course places a special emphasis on understanding the shifts and changes that are currently transforming the field. Students will address issues of leadership and service in producing and managing theatre and identify the skills and attributes required to facilitate the ongoing vitality of theatre making. The course will feature prominent guest lecturers who helm consequential and pathfinding companies here in New York City. Projects will include primary research and presentations based on the examination of global practice models.

Course is designed for juniors and seniors.                          

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

A course that tracks the filmmaking process from its inception at the idea phase and follows the creative process through development, pre-production, principal photography and post-production. The class will focus on the business and legal issues that arise during every phase of filmmaking. Key topics covered will include: copyright law; option agreements for underlying rights such as books, plays, magazine and newspaper articles; sources of financing; distribution agreements; licensing of music; agreements for actors, directors, producers and writers. 

Please note there is a non-refundable $16.00 per credit fee for this course.

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

This is a specialized course in film distribution. Students will study two models of film distribution: those of a major studio and of independent films. Major studio distribution topics will include devising a release plan, analyzing grosses, scheduling bookings, creating a marketing and advertising campaign, and independent film acquisition. Independent film distribution will cover festival circuits and markets, educational and short film distribution, independent features (domestic and foreign), fundraising, and working with agents. The course is team-taught, providing two different perspectives on the distribution arena.  

Please note there is a per credit non-refundable fee for this class. 

Please follow the steps below to obtain an internship through Tisch Film and Television:

1. Tisch students should sign up for an account with Tisch College Central, the online portal that is offered by Tisch Student Affairs which houses information on internship and job opportunities. Non-Tisch students, should sign up for an NYU Handshake account with NYU Wasserman. If you are not a Tisch student and would like temporary access to Tisch College Central, you must enroll in FMTV-UT 1039 first and you will be given temporary access while you search for an internship. Please see step #4 and email ugftv.internships@nyu.edu for more information. 
   
   
2. You can also obtain an internship on your own. For the Documentary Minor, keep in mind, that an internship does not have to be Film/TV focused, as the minor also covers producing for theater or music or new media. Non-Film and TV majors should consult with their home departments regarding the nature of the internship.
   
   
3. Each 1 credit of internship is equivalent to approximately 50 hours of work. Students may earn 1 credit (50 hours) to 6 credits (300 hours) per semester. Students may intern during any semester, including J-Term and Summer.
   
   

4. Once you have obtained an internship, please contact ugftv.internships@nyu.edu with your full name and N# to receive a permission code to enroll in Media Internship for Non-Majors (FMTV-UT 1039). Students cannot self-enroll in Media Internship.
   
   

5. Once enrolled in Media Internship, please visit the NYU Classes site for Media Internship (usually activated 1-2 weeks prior to the start of the semester). Navigate to the "Assignments" tab to download the Internship Agreement packet for your supervisor to complete, along with other assignments needed for the course. Once you and your supervisor complete and sign the Internship Agreement Packet, please upload the completed version back to NYU Classes.
   
   
6. Questions? Please visit our Media Internship FAQs and email ugftv.internships@nyu.edu with additional questions. Be sure to include your full name, whether you are a Producing or Documentary Minor, and N#.

Tisch Drama majors: Please contact Jessica Genick at jessica.genick@nyu.edu.

Prerequisite: Sophomore standing.

This course gives students a basic understanding of key business issues relating to producing, distributing, marketing, and exploiting feature films. The course examines key aspects of the movie business, including managing a creative enterprise, deal making, acquiring rights, building a library, branding, and all aspects of effective marketing. The concepts developed in the course are applied in a group project presentation.

This course is offered in New York and Los Angeles. Visit NYU Los Angeles for course schedules and registration information.

This course outlines a framework through which to make artistic creation a reality. It focuses on the necessary steps to successfully found a company, enter work in a festival and produce self-created performance in a professional context. Issues explored include articulating a mission, the options for different producing models, choosing collaborators, developing a strategic plan, basic fund raising, marketing and managing the legal, financial and regulatory issues essential for start up enterprises in a theatrical environment.

This course is geared to preparing those who plan to produce theatre in New York after graduation. We will cover the basics of fundraising, publicity, marketing, and booking, as well as issues such as renting rehearsal and performance space. We will start by making a production timeline for an imagined new work, and then spend the semester exploring the skills needed to get through the timeline effectively. Some of the issues we will be covering are: what does it mean to be “not-for-profit;” how to apply for a grant, write a fundraising letter, or throw a benefit party; how to get a gig; how  and when to write a press release; marketing your work; contract negotiation; and time management.

This course offers a practical and conceptual foundation for producing animation. We will explore a variety of possible career paths in the animation industry; outline the producer's role in development, pre-production, production, and post-production; and become familiar with standard workflows for 3D, 2D, and stop motion animation. With a team of classmates, you will begin development for a 1-3 minute animated film.

The project is broken down into multiple deliveries over the course of the semester including script breakdown, complexity analysis, production methodology, schedule, budget, and culminates in a group presentation. Scripts will be supplied to choose from. This course is an introductory craft class that qualifies toward the Tisch Producing Minor and the Stern BEMT Minor. Taking Introduction to Animation Techniques is recommended but not required.

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

An examination of the creative, organizational, and managerial roles of the producer in narrative motion pictures. Topics include how a production company is formed, creating and obtaining properties, financing, budgeting, cost control, and distribution. The course gives specific attention to the problems in these areas that will be faced by students as future professional directors, production managers, or writers. Each student is expected to breakdown, schedule, and budget a feature film (90 minutes or longer) of their choosing.  Students must be junior or senior status.  

Please note there is a non-refundable $16.00 per credit fee for this course.

A comprehensive introduction to producing for New York's professional Off-Broadway theaters.  The goal of this course is to equip students with the skills to enable them to manage the responsibilities inherent in a professional production.  Following a review of the Off-Broadway theater movement, traditions and current trends, the class will take a practical approach to preparing a play for the stage.  Students will complete a semester long project which will have them guide a play from "option to opening."  Course study will include:  play and venue selection; comprehending agreements; fundraising; budgeting; assembling a creative team; marketing and audience development;  pre-production, performances and the closing.  (Theatre Studies B)

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

This course provides fundamental and practical instruction in the step-by-step realization of a television program. While productions will not be implemented through the class, students will individually serve as executive producers on projects of their own choosing, based on assignments by the instructor (based on student submissions which include news and cultural documentaries, performance and variety shows, and dramatic works). Student producers will engage in a detailed pre-production phase, which covers research, concept, format development, securing of rights and permissions, pitching to networks and studios, contracts and agreements, formation of the production plan, budget development, assembling staff and crew, identifying on-air talent, determining locations, photo and film archive research, refining the shooting schedule and budget plan. Analysis of why some projects succeed and others fail, an overview.  

Please note there is a non-refundable $16.00 per credit fee for this course. 

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

Producing the Short Screenplay introduces students to a broad range of concepts in short film producing, through an in-depth analysis of the five phases of production: Development, Preproduction, Production, Post Production, and Distribution. 

In this course, you will learn how to apply the basic skill set of a producer to a screenplay, simulating the methods employed by producers on a short film. Through this process, you will gain a critical understanding of the many tools and techniques of the trade, including: scheduling, budgeting, proposal writing, and strategies for fundraising, festival distribution, and more.  This course allocates as a Craft for Film & TV majors.

Please note there is a nonrefundable $16.00 per credit fee for this course. 

Only Section 002 is open to sophomores, juniors, and seniors who are non-film TSOA majors. Section 001 is for film TSOA majors only.

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

The enrollment procedure for non-majors can be found here.

This class is designed to help the students analyze a film script. Plot and character development, dialogue, foreground, background, and story will all be examined. Using feature films, we will highlight these script elements rather than the integrated experience of the script, performance, directing, and editing elements of the film. Assignments will include two script analyses.

This course is offered in New York and Los Angeles. Visit NYU Los Angeles for course schedules and registration information.

The purpose of this course is to give students important tools for developing and producing an independent film. The course focuses on independent narrative features, and recognizes the fundamental nature of film as art and commerce. It examines the marketplace for independent feature film and its workings, including the mechanics and economics of distribution, festival strategies, and funding strategies, including grant funding. Students construct a production plan for a feature project of their choice, incorporating a creative package, production strategy, and a financing strategy. There will be guest speakers and occasional screenings. 

Please note there is a non-refundable $16.00 per credit fee for this course. 

If you are a non-major, please make sure to register for the section for non-majors, generally considered section .002.

Prerequisite: MKTG-UB 1- Introduction to Marketing

This course covers the television industry focusing on network television, cable, and satellite. Primarily surveys the American market and investigates new technology including DBS, telephony, digitization, and HDTV, while providing some comparison with the international broadcast market. Students explore the organization, programming, and revenue strategies; marketing innovations and competition in the newly configured broadcast landscape. Important legislation including the Telecommunications Act of 1996 is studied. The recent volume of mergers and acquisitions in the broadcast industry are examined for their impact on domestic entertainment, communication, news, and information.

The aims of the course are to demonstrate to students how to attend, examine, respond, and relate toperformance as professionals in the field. The importance of progressing from "avocational” to"vocational" attendance will be explored along with practical illustrations of ways to respond to work. The understanding at a sophisticated level of gestation - how did this work come to be - will be sought. Insight into the processing of making, complemented by a consideration of the artist/audience connection and the context is which the work is presented will equip students to both expand their theatre-going horizons and define their aesthetic convictions.

This course is offered during January Term.

This course provides an introductory framework for understanding the dynamics of entering the entertainment and media industry in Hollywood. Through meetings with industry professionals in Film, Television, Music, Theatre, Dramatic Writing, Games and Interactive Media and Casting and visits to various locations, you will learn expectations, industry standards, and professional practices to apply when transitioning from student to a creative professional. You will also understand the specific job functions that are required to effectively and efficiently complete productions. The course aims to build a body of knowledge and information through understanding the various roles and professions that cut across all the competencies required for the industry professional to effectively function as a key member and in most cases, the leader of the creative and business team, assembled to complete a project.

Non-Film majors may not be eligible to enroll in FMTV courses until the Open Access date, which is later than student registration times. To view Open Access dates, click the box that says "...UGFTV Open Access List" in the left margin on the enrollment procedure for non-majors page.

If you are a non-major, please make sure to register for the section for non-majors, generally considered section 002. 

The enrollment procedure for non-majors can be found here.

TV Nation: Inside and Out of the Box gives students the opportunity to experience, first hand, how the world of network television works from two points of view: business and creative.  Students will gain an understanding of the business aspect through the vantage point of the network executives and programmers.  They will also learn the creative process from development to pitching, from the vantage point of writers and producers in the industry.  In TV Nation, student will role-play the entire process as the key players who put together a season of broadcast and cable networks. 

Please note there is a non-refundable $16.00 per credit fee for this course.