Tisch Summer 2011 Course Catalog

Cinema Studies • Dance • Design for Stage and Film • Drama • Dramatic Writing • Film and Television • Gaming • Interactive Telecommunications • Moving Image Archiving and Preservation • Musical Theatre Writing • Open Arts • Performance Studies • Photography and Imaging • Recorded Music

SUMMER How many times have you heard the following? a.)

I can’t wait until summer.

b.)

Good things come to those who wait.

c.)

Change takes time.

d.)

We’re sorry.

We need to say all of that one more time. And we really mean it.

New York University is undergoing a major overhaul of its student registration system. Honestly, it’s taking a little longer than expected, but when it’s ready, it’s going to be great.

But, we know — you’re ready to see what courses are available, and Tisch School of the Arts is ready to show you.

Please use this guide to read about the courses you want to take. It’s categorized by department. So, mix and match. Find what you like. Take something fun.

When the registration system is ready, use course search available at www.nyu.edu/summer to find courses at Tisch School of the Arts. Click on the department, find the course registration number, schedule, and time.

Follow those instructions on the left-hand side of the page.

Now, we just want to say: Call us if we can help. 212-998-1500.

Go for it.

Office of Special Programs Tisch School of the Arts

TUITION AND FEES We never like to start with numbers, but we think it’s important that you know about tuition and what you can expect to pay.

A sample calculation follows. We think this will help you.

And we promise, when you turn the page, what you’re looking for is there.

SAMPLE CALCULATION FEE

FORMULA

Tuition

Number of units (4) x $1,176 per unit

$4,704

Lab Fee

$515

Non-returnable registration and services fee (paid for first unit only.)

$270

Total Amount Due

COST $5,489

TUITION AND FEES Full payment of tuition and fees must be received within 6 business days of registration. Payment options include electronic checks or check/money orders. Please make checks payable to New York University for the exact cost of the courses desired.

The University will not accept partial payment.

OPEN ARTS The Office of Special Programs at Tisch School of the Arts developed Open Arts courses to provide you with foundational knowledge, introductory exposure, and hands-on experience in various disciplines in the arts. The curriculum provides opportunities for the novice to experience the arts and for non-majors to access new artistic fields. These courses are typically offered to Tisch and NYU students, but if you’re a visiting student you may now take them over the summer.

Come be inspired and apply your creativity.

Acting I 2 units This beginner’s course explores the use of games, monologues, and scene work in order to develop knowledge of basic acting skills. Students are encouraged toward self exploration and creative expression. Not open to Tisch drama majors.

Acting II 2 units A continuation of Acting I with a concentration on exploring scripted materials. Students prepare a scene or monologue in the course of the work and complete an in-depth study of the play. We learn how the actor uses improvisation, self-exploration, theatre games, imagination, and “make believe” to bring a script to life. Techniques of script analysis are explored. The instructor acts as a director to the student actor, reflecting the working relationship in the professional theatre.

Acting for the Camera 3 units This course is for actors who want to explore and cultivate their filmic talents and for directors who want to create performances that exploit the potential of the camera. Part one of the course reviews the fundamentals of the acting process. Through exercises, improvisations and scene work, techniques and criteria for performances are established. In part two, students work before the camera. The minimalism of film acting is the primary thrust, illustrating the camera’s ability to capture nuances of behavior, and requiring from the actor less physicalization, greater concentration and maximal inner-life. In the third part of the course, scenes are rehearsed, lit, framed, and taped in a series of camera

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set-ups. Each student in the course receives a tape of his or her major project suitable, after basic editing, as a work sample or audition piece.

Introduction to Graduate Acting 4 units This course offers a concentrated overview of the training process of the Tisch School of the Arts Graduate Acting Program. Utilizing members of the full-time and adjunct faculty of the program, students will receive a paradigm of the graduate training schedule: Acting training with two scene study classes, one in contemporary American drama and one in Chekhov; Voice training in Shakespeare and text; Movement training, including introduction to Alexander Technique and clown class. There will also be tutorial sessions for acting, voice, and movement, as well as guest speakers and a career counseling and audition session. The course concludes with a scene study presentation.

Choreography 4 units This course focuses on the foundations of dance such as control, aesthetics, alignment, development of strength and flexibility, dynamics, athleticism, musicality, use of space, development of learning strategies within a group context, and personal, artistic expression. Through individual and collective kinesthetic participation in unfamiliar patterns, related, but not limited to China, West Africa, United States, and Japan, the student is physically and conceptually challenged and informed. Using these learned dances as inspiration, students go on to re- interpret, improvise and choreograph their own variations on dance forms in their class assignments. This course has a nonrefundable $200 lab fee.

Film: A Transformative Process, A Vision Beyond Technology 4 units This course emphasizes the content, the aesthetics, and the purpose of cinema as a truly distinctive and dynamic art form uncovering the inner vision of the filmmaker, and the organic and transformative process where filmmakers projects their original truth, not compromising or borrowing ideas

and themes from other films. Students explore the use of technology as a valuable tool that enhances the vision of the filmmaker without diminishing the organic texture of the work by its overwhelming presence. The course brings to light the stagnant and repetitious formulae of commercial cinema, resulting in diluted mainstream films. The works of iconic filmmakers who embrace and use film as an original, vibrant and reflective art form are reviewed throughout the course.

Extracts and readings from relevant filmmakers are given throughout the course.

Film Development: The Tools of Creative Movie Producing 2 units 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.”

Game Development Workshop 4 units This course reflects the various skills and disciplines that are brought together in modern game development: game design, programming, visual art, animation, sound design, and writing. The workshop will situate these disciplines within a larger context of game literacy and a historical and critical understanding of games as cultural objects.

Classroom lectures and lab time will all be used to bring these different educational vectors together into a coherent whole; the workshop will be organized around a single, long-term, hands-on, game creation project. Working in small groups under the close supervision of instructors, students will collaborate on the creation of a playable game.

Introduction to Game Design 4 units This intensive, hands-on workshop addresses the complex challenges of game design. The premise of the class is that all games, digital and non-digital, share common fundamental principles, and that understanding these principles is an essential part of designing successful games. Learning how to create successful non-digital games provides a solid foundation for the development of digital games. Students will analyze existing digital and non-digital games, taking them apart to understand how they work as interactive systems.

A number of non-digital games will be created in order to master the basic design principles that apply to all games regardless of format. This course has a nonrefundable $115 lab fee.

Iran Arts Activism 4 units This course will provide a showcase of classical and modern Iranian music, architecture, photography, calligraphy, poetry, and theater, and explores how artists throughout history have struggled for self-expression despite the restrictions and

vagaries of politics and repression. Artistic expression of women’s issues and alternative sexuality will be highlighted.

Media Moguls in the 20th Century 4 units This course attempts to track the American entertainment industry from its plebian origins through its rise to becoming the predominant mass entertainment culture in the world.

Students 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 20th century and the companies they built. The emphasis is 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, but are not limited, to Louis B. Mayer, George Lucas, Maya Deren, Shirley Clark, Nam Jun Paik, Lucille Ball, Russell Simmons, Clive Davis, Julie Taymor, and Steve Jobs.

History of Political Musical Theatre 4 units This course will look into the response the musical theatre genre has to American and international politics. The course will follow a rigid timeline that will start at the beginning of the 20th century and it will look at shows, on and offBroadway, regional and international and even underground unproduced work. Some of the shows will include classics in the musical theatre genre like the work of Rodgers & Hammerstein, Sondheim and Prince, to the work of Brecht and Weil, to lesser known or short-lived works of German, South African, Korean and Malaysian writers, like Sarafina!, Metro and Poison. The aim of the course is to show that musicals don’t just consist of song and dance, but discuss the human condition far more than we take into consideration.

Producing Essentials 4 units Today’s major creative fields—film, television, music, theatre, dance, and new media—need quality producers. A producer with a firm knowledge of the craft, a discerning eye for material, fund-raising ability, a grasp of the law, cash flow, people, and ethics is rare. This course provides 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 and media industries. Students are introduced to the basic concepts, terms, and principles that apply to the role of producer in the entertainment and media industries along with the specific job functions that are required to effectively and efficiently complete a production.

Producing in the Digital Revolution 2 units This is an interdisciplinary course for film and non-film students to better understand the industry and the historical and creative significance of digital cinema as well as anyone interested in exploring the brave new digital world. The course includes live and video-conference discussions with directors, writers, cinematographers, producers, cast, and crew directly involved with productions. Some of the films to be discussed include Miguel Arteta’s Chuck and Buck, Lars Von Trier’s Dancer in the Dark, Brian De Palma’s Redacted, and Rebecca Miller’s 5

Personal Velocity among others. Students will view examples of how the digital revolution has been adopted and transformed filmmaking throughout the world, from Nigeria’s regional Nollywood movement to South Africa’s Neill Blomkamp, whose no-budget digital special effects short Alive in Joberg catapulted him straight to helming this summer’s blockbuster hit District 9.

Steps, Rhythm and Movement of African Dance 2 units This is an introduction to the dances and rhythms from Africa and the African Diaspora. Through movement, students will explore certain aesthetic characteristics that help to classify the dances as “African.” Traditional and or cultural dances and rhythms from various regions in Africa and the Caribbean will be taught along with the basic rhythmic patterns that are the foundation for the dances. There will be an emphasis on specific West African movements that have been transported and transplanted to the Americas. Class will consist of an extensive warm-up, including floor work, stretching, and isolation exercises that utilize elements of the Katherine Dunham isolation technique. This course has a nonrefundable $200 lab fee.

Steps, Rhythm and Movement of Indian Dance 2 units This introductory course explores the cosmic movement of Indian Dance from the sacred to secular through the manifestation of cosmic energies, symbolism and story telling, using the wide range of emotions, and mudras (gesture language).

Rhythmic composition will also be introduced utilizing the verbal expression of rhythm called “bol” as expressed

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through the footwork and body movements. Various dance styles will be introduced primarily Kathak (Jaipuri Tradition), Yoga Dance, Bhangra warm-up and “Bollywood” — all playing a significant role in the mosaic of dance arts of India.

This course has a nonrefundable $200 lab fee.

Through the Documentary Lens: Human Rights 4 units Students will view both new and classic documentaries about Civil Rights, Gay and Lesbian Rights, Prisoners’ Rights, Women’s Rights, Children’s Rights and Immigrants’ Rights. The course will cover different perspectives as well as provide insights into both the subject matter contained in the films and the techniques and skills of good documentary filmmaking. Through research, weekly screenings of films, class discussions and invited guest filmmakers, students will learn about both the evolution of the documentary genre as a means of better understanding history, and gain knowledge about the historical/political/cultural milestones and the heroes of the Human Rights movement.

Maurice Kanbar Institute of Film and Television

NONCREDIT CERTIFICATES The Tisch School offers noncredit professional certificates through the Maurice Kanbar Institute of Film and Television’s Undergraduate Division, and the Rita and Burton Goldberg Department of Dramatic Writing. Each certificate consists of mandatory courses and electives. Courses are taught by full-time faculty, and you will have full access to the school’s equipment and facilities. The certificate must be completed during one entire summer (session I and session II) or two successive summers.

CERTIFICATE IN FILMMAKING

CERTIFICATE IN PRODUCING Refer to Undergrad Film & TV course listings.

Category A: Beginning Production (Choose one.)

• Fundamentals of Sight and Sound: Film • Fundamentals of Sight and Sound: Studio • Fundamentals of Sight and Sound: Documentary Category B: Writing • Writing for the Screen Category C: Craft/Production (Category A and B courses are prerequisites for the category C courses.)

• Producing for Film and Television

Refer to Undergrad Film & TV course listings.

Category A: Beginning Production • Fundamentals of Sight and Sound: Film Category B: Writing • Writing for the Screen Category C: Craft/Production (Choose one.

Category A and B courses are prerequisites for the category C courses.)

• Cinematographer’s Workshop (Prerequisite: Beginning Film Production.)

• Color Sync Workshop (Prerequisite: Beginning Film Production.)

CERTIFICATE IN DIGITAL FILMMAKING

CERTIFICATE IN SCREENWRITING Refer to Undergrad Film & TV course listings.

Category A: Beginning Production • Fundamentals of Sight and Sound: Studio Category B: Writing • Writing for the Screen Category C: Craft/Production (Choose one.

Category A and B courses are prerequisites for the category C courses.)

• Seminar in Script Analysis • Scriptwriting I

CERTIFICATE IN DRAMATIC WRITING: PLAYWRITING

Refer to Undergrad Film & TV course listings.: Category A: Beginning Production • Fundamentals of Sight and Sound: Studio Category B: Writing • Writing for the Screen Category C: Craft/Production (Category A and B courses are prerequisites for the category C course) • Fundamentals of Sight and Sound: Documentary

Refer to Dramatic Writing course listings.

Students must complete Playwriting I and Playwriting II, plus any two additional summer dramatic writing courses to earn this certificate.

Required courses: • Playwriting I • Playwriting II Select two of the following: • Screenwriting I

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• Dialogue and Narrative Creation in Electronic Games • Writing the One-Hour Television Drama • Writing the Half-Hour Comedy

CERTIFICATE IN DRAMATIC WRITING: SCREENWRITING Students must complete Screenwriting I and Screenwriting II, plus any two additional summer dramatic writing courses to earn this certificate.

Required Courses: • Screenwriting I • Screenwriting II Select two of the following: • Playwriting I • Graphic Storytelling: Introduction to Comics Writing • Writing the Half-Hour Comedy • Writing the One-Hour Television Drama

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CERTIFICATE IN DRAMATIC WRITING: TELEVISION WRITING Students must complete Writing the One-Hour Television Drama and Writing the Half-Hour Comedy plus any two additional summer dramatic writing courses to earn this certificate.

Required Courses: • Writing the One-Hour Television Drama • Writing the Half-Hour Comedy Select two of the following: • Playwriting I • Graphic Storytelling: • Introduction to Comics Writing • Screenwriting I • Playwriting II

Institute of Performing Arts

Photo by: Lois Greenfield

DANCE The Department of Dance at Tisch School of the Arts is one of the finest conservatory dance programs in the country.

For six weeks each summer, Tisch Dance offers the Tisch Summer Dance Residency Festival, two intensive three-week workshops for the intermediate-to-advanced dance student.

This is an opportunity to train in New York City with six of New York’s hottest contemporary dance companies.

Note for high school students: High school students must be at least 15 years old to participate in the Tisch Summer Dance Residency Festival.

The workshops include a one-and-three-quarter-hour ballet class focused on alignment, strength, balance, line, and coordination and continues with a one-and-a-half-hour class in contemporary techniques. Each visiting company presents a lecture/demonstration on the first day of its residency and teaches a week of contemporary technique and, in the afternoons, repertory. Instruction from the Tisch School’s permanent faculty of master teachers is integrated with that of major guest artists and company members. Students also have the opportunity to observe open rehearsals, showings of works-in-progress, and public performances.

Tisch Summer Dance Residency Festival 2011 Residency I: May 24-June10 Residency II: June 13-July 1 Dance Companies in Residence David Dorfman Dance May 23-27 Ron Brown—Evidence May 30-June 3 Nicholas Leichter Dance June 6-10 Ellis Wood Dance June 13-17 Kate Weare Company June 20-24 Gina Gibney Dance June 27-July 1 Yoga for Dancers This course is part of the technique classes offered through the Tisch Summer Dance Residency Festival. Only students registered for the Tisch Summer Dance Residency Festival are eligible for this course.

Photo by: Quinn Batson

The anatomically and energetically themed class incorporates classical yoga into a structure more sensitive to a dancer’s technical and injury prevention needs. This class offers students a deeper understanding of their own unique body strengths and weaknesses while emphasizing use of the breath and safe practice through proper alignment.

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Institute of Performing Arts

DRAMA The Department of Drama, offers a unique program, combining intensive practical training with challenging academic studies to address the whole person: body, mind, and imagination. The summer curriculum takes full advantage of the cultural resources unique to our location in the theatre capital of the world. Students receive actor training from renowned professional New York City studios, are taught by leading teachers in the field, and learn techniques used by today’s top professionals. Our theatre studies courses, in turn, are taught by the department’s acclaimed resident faculty of theatre scholars, theorists, and historians.

PROFESSIONAL TRAINING

During this intensive six-week workshop, students acquire a foundation in the Practical Aesthetics technique, as well as professional habits created by the challenging work environment. Classes meet six days per week and include Script Analysis, Performance Technique, Repetition, Committed Impulse, and Voice and Speech, as well as lectures by working professionals.

Note: After registering at NYU, please call Atlantic for orientation at 212-691-5919, ext.1171. All students required to read the book, A Practical Handbook for the Actor before starting classes.

Alexander Technique 2 units

Atlantic Vermont Program 4 units

The course uses individual hands-on traditional procedures on the chair and table. Group classes are tailored to meet the needs of actors: learning to reduce or eliminate habits that impede breath, coordination and expression; use of Alexander “directions” to release action through the instrument; to find ease and efficiency within a contemporary and truthful use of self through text and physical characterization.

Prerequisite: Admission restricted ONLY to current Tisch Drama Majors and Atlantic students. Permission is required.

Students who have completed at least one year of studio training are eligible to audition for this 24-person ensemble.

The Atlantic Acting School’s Summer program in Vermont is three weeks of intensive, advanced acting training, designed for the actor with well-developed professional habits who seeks a rigorous and rewarding experience working with a master teacher of Practical Aesthetics. Students dorm on the scenic University of Vermont campus and train in their studio facilities.

Note: Spring audition date TBA. For more information, contact Clayton Early cearly@atlantictheater.org.

Atlantic Summer I 4 units Founded by playwright David Mamet and actor William H. Macy, the Atlantic Acting School is dedicated to training in the Practical Aesthetics Technique. The objective of the technique is to provide the student-actor with a set of clearly defined and repeatable acting principles and skills. This approach takes a clear, demystified view of acting with an approach that aims at objectivity, clarity, and practical habits.

This intensive program offers an introduction to Practical Aesthetics through three main elements of the technique: Script Analysis, Performance Technique, and Repetition.

Students will also train in Vocal Production.

Note: No audition/interview required. After registering at NYU, please call Atlantic for orientation at 212-691-5919, ext.1171. All students required to read the book, A Practical Handbook for the Actor before starting classes.

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Atlantic Summer II 8 units

Cap21 Summer Musical Theatre (CAP 21) 8 units This is a six-week musical theatre performance conservatory training students to become balanced performers, powerful in all disciplines of musical theatre performance. The program includes Acting/Scene Study, Musical Scene Study, Dance (ballet, jazz/theatre dance and tap), Music Theory, Vocal Performance, Vocal Technique, Audition Technique focuses, and the Business of Theatre.

Note: No audition required. However, placement auditions will be held on the first day to determine Dance and Music Theory levels and to create Acting/Vocal sections. CAP21 also offers its own summer program. For details, visit www.cap21.org.

Internship Interns will work in a professional organization related to the arts in New York City. Internships are available in professional theatre or arts organization. Positions may include stage management, theatre administration, and production assisting in venues such as Broadway, off-Broadway, off off-Broadway, and not-for-profit theatres, television, film, dance, music, arts service organizations, casting/talent agencies, as well as with working with children, after-school programs, drama therapy, intergenerational theatre, and community-based theatre. Additionally, students must attend three professional development seminars offered at the beginning, middle and end of the semester. During the seminars we will discuss how to maximize your internship experience by setting goals, creating relationships and exploring future career options.

Note: Students earn 1.0-8.0 units. 12 weeks (1 unit=3 hours/ week for 12 weeks).

Approval and Access Code is required. Talk to an advisor or Carl Fengler prior to registering. Contact Carl at carl.fengler@ nyu.edu or 212-998-1498.

Meisner Craft, Stage, and Camera 8 units Prerequisite: Two years of primary training or equivalent.

This intensive will address the solid, necessary work of craft guided by master acting teachers, the chance to translate that craft to camera with the experience of on-camera specialists and coaches; the opportunity to workshop with industry professionals; the opportunity to translate craft to a production. Classes will work to challenge and deepen the level of craft already acquired. Applying Meisner’s solutions to the concurrent demands of authenticity and spontaneity, the student will have the dual opportunity to work on-camera with monologue material, and in rehearsal for a production chosen for the ensemble. Other classes to be offered and under consideration: movement for actors, Alexander tutorials, singing for the actor, a cold-reading and audition technique workshop.

Note: Audition Required. Please email Leighton Mitchell at lm4@nyu.edu for an audition appointment before submitting the registration materials.

Private Voice Training These weekly individual voice lessons are designed to strengthen the actor/singer’s vocal instrument. Each session provides the student a technical base to build the voice and protect it against misuse. The approach to technique is classical, which may be applied to musical theatre repertoire as well as opera and art songs. Private voice lessons are available for NYU and non-NYU students.

Spoken Word: Voiceover Techniques 2 units This course will touch on all aspects of this rewarding and potentially lucrative business. We’ll discuss the business of voiceover work, how to get started, what skills you need to have, and how you can develop them. A significant part of the course will be actual voiceover performance done in a state-of-the art sound studio. Each person will be critiqued as to style, versatility, and directability. All types of voices are welcome for this class but good diction is an imperative.

Stella Adler Summer Chekhov Intensive 5 units The Stella Adler Studio has created an advanced-level intensive which endeavors to illuminate modern realism through the lens of its greatest practitioner, Anton Chekhov.

The course is centered on Chekhov Scene Study, supplemented by daily physical and vocal work. This is a five-week, 30-hour per week intensive designed for the advanced actor with classes in Scene Study, Voice & Speech, Physical Styles, and Physical Acting.

Note: Audition required. Chekhov Intensive is designed for actors with prior training. Please call the Stella Adler Studio of Acting at 212-689-0087 for an audition appointment before submitting the registration materials.

Stella Adler Summer Conservatory 8 units The Summer Conservatory is a foundation-building course which approximates a full term of our NYU Tisch School of the Arts program. Classes include Acting Technique, Improvisation, Scene Study, Shakespeare, Movement, and Voice & Speech. Master Classes in Character and Acting for Film & Television are given to supplement the training. The program begins with an orientation and ends with a presentation of contemporary and classical scene work.

Note: Interview required. Please call the Stella Adler Studio of Acting at 212-689-0087 for an interview appointment before submitting the registration materials.

Stella Adler Summer Physical Theatre Intensive 5 units The Physical Theatre Intensive, part of the Harold Clurman Center for New Works in Movement and Dance Theatre, is designed especially for the physically creative actor. Taught by a world-class movement faculty, the program offers seven different courses plus private tutorials that give actors the tools to create their own physical theatre. The five week, 30+ hour-per-week program culminates in a performance of original, ensemble, physical theatre projects. Classes include Modern Dance, Image Work, Impulse and Structure, Voice and Speech, Mime, Tutorial, Autonomy, and Source-work.

Note: Interview required. Physical Theatre Intensive is designed for actors with prior training. Please call the Stella Adler Studio of Acting at 212-689-0087 for an interview appointment before submitting the registration materials.

Stella Adler Summer Shakespeare Intensive 6 units Offered only in the summer, this is a six-week, 30-hour per week intensive designed for the advanced actor to further develop his/her sense of the epic size of theatre with classes in Scene Study, Voice & Speech, Movement Technique, and Stage Combat.

Note: Audition Required. Shakespeare Intensive is designed for actors with prior training. Please call the Stella Adler Studio of Acting at 212-689-0087 for an audition appointment before submitting the registration materials.

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Strasberg Summer 8 units

Stonestreet Intro Screen Acting 2 units

The Lee Strasberg Theatre & Film Institute offers students a 12-week introductory course to Strasberg’s Method, an acting technique in which personal experiences are used to create truth in imaginary circumstances. Students are required to take two four-hour Method Acting classes with two different teachers in order to gain varying perspectives on their work.

A six-week, highly focused intensive developed in close collaboration with faculty from Tisch Undergraduate Film and Television and the Stonestreet Screen Acting Workshop, provides essential working knowledge of acting and auditioning for the camera. Embracing and building upon the theatrical training while opening an actor’s eyes to the vast differences that exist between film and theater acting. Students will have an opportunity to experience where camera, material and technology meet actor and director so as not to be intimidated but instead be empowered to work in the medium.

In addition to the two four-hour acting classes, students choose eight hours of electives, which include Acting for Film and TV, Audition, Musical Theatre, Singing, Speech, Dialects, Vocal Production, Speaking Voice for the Actor, Movement, Tai Chi, Physical Technique, Basic Dance, Jazz, Tap, Ballet, Salsa, Stage Combat, Script Analysis, Shakespeare at the Globe, Theatre History and others.

Note: Once registered, please call The Lee Strasberg Theatre & Film Institute (212.533.5500) to arrange your individual schedule of classes. Visit www.newyork-strasberg.com for additional information.

Stonestreet Screen Acting Workshop I 8 units This intensive covers film and television training from the audition process to performance and production. All areas of screen acting are covered: film (dramatic and comedic), dramatic series, sitcoms, multi-camera and soaps, commercials and voice-overs, as well as vocal and physical work as it applies to film acting. The Intensive Screen Audition Technique Class prepares students with industry integration in the twice-per-week Showcase Class where students perform for professional agents and casting directors and receive feedback that actors do not normally have access to in the professional world.

Note: Scheduling an in-person or phone interview with Alyssa Bennett, artistic director, arb@stonestreet.pro, or Bornila Chatterjee, managing director, bornila@stonestreet.pro, is highly recommended. Orientation is at 10:00 am on the first day of class for each summer session.

Stonestreet Screen Acting Workshop II 8 units Prerequisite: Stonestreet Screen Acting Workshop I This course focuses more heavily on production and industry integration by immersion in multiple production opportunities while developing a body of work to showcase them in, including collaboration with Tisch Film and Television Department directors in faculty-monitored film and television projects, featured roles in Stonestreet’s historical mystery webseries, The 47th Floor (www.the47thfloor.com), and lead roles in original short films written by screenwriters in the Tisch Goldberg Dramatic Writing Department. Advanced courses in Audition and Career Management along with Agent Showcase and Screen Acting & Character help students continue to study & practice the intricacies of screen acting while making further industry connections.

Note: Students must contact Stonestreet when registering for this Advanced Workshop in order to work out individualized programs and schedules.

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The Business of Acting 2 units This course gives students a complete overview as to how the business of show business functions. Its purpose is to understand how best the art and craft of acting compliment the industry. Week to week facets of the business are discussed as they pertain to theater, commercials, television, and film.

Topics covered include: the role and function of the casting director, the manager and the agent; SAG, AFTRA and EQUITY as they pertain to professional work; the climate of the business in its two most employable cities New York and Los Angeles and other areas; the headshot and its importance; show business periodicals and websites; and alternative sources to seek employment, representation, career management and continued education.

Voice and Shakespeare’s Text 2 units This course offers a visceral, instinctive and playful approach to classical text work.

Class sessions begin with a warm up geared for speaking complex language. Students will explore habits of breathing and voicing that inhibit character transformation. Shakespeare’s language will be explored in physically embodied ensemble based exercises. We will discover ways in which sound equals sense, find and activate the argument within the text, and allow the rhythms in the verse to propel the thought forward. We’ll investigate character guided by evidence in the text. The process leads students to make a personal connection to what they’re saying. The result is ownership and embodiment of complex language that is organic and dynamic.

Yoga for the Performer 2 units This course is designed to meld Basic Yoga with empowering tools needed for both Performance and Audition. Students will learn and refine the underlying foundations of a Yoga practice. This practice will incorporate basic knowledge of technique and breathing in all of the postures. In addition, yoga philosophy, meditation techniques, and breathing practice will be taught. The main tenants of the fruits of a yoga practice also happen to be necessary assets to a performer; Self-Acceptance, Steadiness, Focus, and Confidence...We will build a strong basis and assemble a series that can be used pre-performance/audition as well as post-performance/audition.

THEATRE STUDIES History of Acting 4 units This class charts the evolution of debates over the actor’s craft in Europe and the U.S. and asks why actors and acting have inspired invectives, paeans, and riots. The class introduces students to the major actors and acting styles of both the comic and tragic stages during the Renaissance, the neoclassical period, the romantic period, and the modern period. Students will read a range of primary and secondary materials, and will be asked to assess both their reliability and value as historical documents.

History of US Theatre 4 units This course is an examination of Colonial and United States theatre as an institution whose complexity was determined by the nation’s economic and social evolution. Four periods are examined in this study: Colonial and Early United States era, pre-Civil War, post-Civil War, and the twentieth century.

Emphasis is placed on the social and political contexts within which US theatre developed from embattled colonial diversion to mass entertainment to art form. We will also examine how these developments influenced and were influenced by the business and commercial aspects of US theatre.

The study concludes with the post-World War II ascent of experimental and nonprofit regional theatre, which has contributed to the decentralization of the American stage. Students will sift through various narratives, including the instructor’s, in order to create their own US theatre histories.

Inter-artistic Genres: Icons of the Theater 4 units This course will highlight the major movers and shakers of American theater in the 20th Century and the essential movements and trends to which they lent their creativity. Trends and movements discussed include classical actors (John Barrymore, Laurence Olivier, Richard Burton, Christopher Plummer); leading ladies (Ethel Barrymore, Katherine Cornell, Geraldine Page); ensemble players (Stella Adler, Elia Kazan, Lee J. Cobb); light comedians (Lunt and Fontanne, Noel Coward, Maggie Smith); musical performers (the Marx Brothers, Ethel Merman, Gwen Verdon, Zero Mostel, Nathan Lane); regional theater leaders (Tyrone Guthrie, Zelda Fichandler); avant garde visionaries (Julian Beck, Judith Malina); and leading producer/directors (Joshua Logan, Harold Prince, Joseph Papp). Together, they constitute the seminal leaders of our theater tradition and its cultural literacy.

The class will make use of documentaries, footage, memoirs, biographies, interviews, and field trips in order to discover the personal and professional universes of these essential stars.

Modern US Drama 4 units This course focuses on writers of drama and theatre in the United States since 1900, including, but limited to Eugene O’Neill, Susan Glaspell, Clifford Odets and the Group Theatre, Thornton Wilder, Tennessee Williams, Arthur

Miller, Edward Albee, Emily Mann, Sam Shepard, and David Mamet. These writers and their texts are explored as they relate to the page, to the stage, and to US culture at large. How do these writers (and others) represent themselves and notions of “American-ness” in their dramatic works?

The role of gender in culture as demonstrated in these works is investigated. Does US drama question the status quo or reinforce it? These and other interrogations inform our readings, discussions, and written assignments.

Modern US Drama: The One Act 4 units Focusing entirely on the one-act, this course explores the genre’s history and development and offers students the opportunity to read a wide range of material from well-known and emerging playwrights.

Musical Theatre 4 units A survey of the most original and influential examples of the American Musical Theater tracing its development from the various strands of music and performance that arrived in America at the turn of the century to the current state of the Broadway musical. We look at the great songwriters, the important directors and choreographers, the leading performers and the landmark musicals that changed the game. This course is an excellent opportunity to place the current innovations of the musical into a cultural and historical context.

Performance Art Practicum: Experiments in Autobiography 4 units This is a writing-intensive class about the practice of “remembering” in writing until memories become strong enough and strange enough to become performances. This practice will be approached in a variety of ways: through the imitation of works by other writers as various as Peter Handke and Maxine Hong Kingston, through the construction of firstperson monologues based on reading poems and (and when possible seeing) solo performances, through improvisation exercises (both physical and verbal), and through individualized assignments growing out of each writer’s own stories.

The course will have two functions: the production of a long autobiography and the transformation of excerpts from this autobiography into a performance piece. There will be a performance day at the end of the course.

Performance Studies: Burlesque 4 units This course will examine the three major historical periods of American burlesque: traditional burlesque, 1860’s – 1930’s; bump and grind, 1940’s – 1960’s, and the neo-burlesque movement, 1990’s and on. The course seeks to understand and trace how the definitions, conceptual preoccupations, and performance techniques of burlesque have changed over time. Special consideration will be given to understanding burlesque in relationship to other entertainment genres such as vaudeville, minstrelsy, early film, melodrama, and musical theatre. The history of burlesque will be examined, from conceptual frameworks that may include: issues of domesticity; gender identity and gender bending; body image and the media; and kitsch and modernism.

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Realism and Naturalism 4 units This course offers an introduction and exploration of major European playwrights and theatre history from the Industrial Revolution through World War II. Works by dramatists including Sardou, Dumas, Zola, Strindberg, Ibsen, Chekhov, Wilde, and Shaw are considered along with movements from romanticism, realism, and naturalism to symbolism. The birth of the director is explored as well as the impact of new technologies on stagecraft. The class features a large multimedia base of illustrative materials.

Shakespeare on Film 4 units The study of Shakespeare on film offers an opportunity for observing actual historical artifacts (the films) in relation to the texts on which they were based (the plays). By engaging directly with performed versions of the scripts, it is possible to more fully consider how changing social, cultural, political and technological mores affect the performance and interpretation of seemingly fixed texts that are often the object of deep cultural reverence and a purist devotion to the “original.” By looking at a field that involves filmmakers from the silent era to the present and as culturally diverse as Laurence Olivier and Akira Kurosawa, one confronts both the interpretive fluidity of the scripts themselves and the contingency of one’s own tastes and values as they relate to styles of acting, textual fidelity, and technological polish.

Studies in Shakespeare 4 units This course closely examines the problems and contradictions embedded in Merchant of Venice and The Winter’s Tale in preparation for discussing the choices directors make when moving plays from page to stage. Topics will include Renaissance attitudes to witchcraft, gender, cultural “others,” cross dressing, problems of knowledge and other issues at the heart of early modern culture and will involves “external” as well as “internal” reading; as well as possible comparisons to other productions or to another Shakespeare play and its life in a non-verbal medium. This is a writing-intensive course. This is an opportunity to study in depth the two plays of the summer season before attending an invited dress rehearsal of the Public’s Shakespeare in the Park.

Theatre In New York: Practicum 4 units The course introduces students to the great variety of theatrical activity going on in the City, in order to recognize the vast number of theoretical issues and practical questions it raises, and to develop serious intellectual and critical vocabulary for responding to it. We attend performances twice a week, having prepared by reading the play or related theoretical material. We follow each show with an in-depth class discussion of the major issues raised by the performance.

Note: This course requires a $300 lab fee. Tuesday, Wednesday, Thursday evenings must be free for show-going.

Theatre in New York: The Cracks in The City 4 units This course explores the ecology of artistic creation in the “downtown” New York scene. New venues, performance 14

forms and modes of expression and distribution are attracting audiences to unconventional experiences in “the cracks of the city.” Three themes are explored. First, geography and location; where the non-traditional performance activity is taking place; then hierarchy, or how the venues and institutions of “downtown” relate to each other and finally; networking, or how and why audiences connect with artists and performances within in contemporary performance.

Theatrical Genres: Comedy and Performance 4 units This course explores the various possibilities of communication through the use of comedy in performance, including the important roll of the comedian as messenger from the Greeks to the geeks. Through class discussion, some theory, video screenings and a few field trips, the course seeks to answer the following questions: How do performers use comedy to successfully (and often unsuccessfully) communicate politics, emotions, and world-views? How do issues of race, class and gender become accessible in media through comedy? How does hilarious self-deprecation help us to break down our ego driven society? What does comedy from specific cultures have to say about the cultures themselves, to outsiders, to insiders?

What does the climate of humor in specific decades have to tell us about the climate of the culture at that time?

Institute of Performing Arts

DESIGN FOR STAGE AND FILM The Department of Design for Stage and Film offers training in set, film, costume, or lighting design. Summer courses are offered to undergraduate and graduate students with or without prior experience in the field. All courses are taught by working professional designers who are also dedicated teachers. Members of the professional design community are introduced as guest speakers, and field trips to shops, film locations, and museums may be arranged.

An Introduction to Design for Film 4 units This course offers an introduction to designing a script for film production. Students learn and experience first-hand the steps from receiving a script to translating it into a visual package ready for production. By the end of the course students understand the life and work of a production designer and be ready to decide if this is something they might want to pursue further as a career. Guest speakers and field trips are usually arranged.

conversations with other designers who work in film costume.

This course is taught by assistant arts professor Campbell Baird, an international designer of costumes and scenery.

The Golden Age of Hollywood Musicals: The Arthur Freed Unit 4 units This class will focus on the extraordinary accomplishments of the Arthur Freed Unit of MGM studios in the 1940s and 1950s. Films and film clips will be shown in chronological order to emphasize the linear progression of the style and content of the Freed Unit’s films and allow for discussion of the collaboration involved in creating them. Several short research papers will be assigned and shared to include more information about the artists involved as writers, directors, performers and designers.

Drawing for Theatre and Film 4 units In this course, students receive an introduction to the basic principles and practices of drawing as a way of communicating with directors and other collaborators. The course will address spatial thinking, encompassing perspective and proportion. There will be equal emphasis on drawing environments from real life, using New York City spaces as subject matter as well as inventing scenes and views. Working from texts, students complete projects that include a set design rendering for theater, and storyboards and art direction sketches for film and television.

Period Style/Period Reality: Costume and Clothing in the Movies 4 units This course examines the function and artistry of costuming in the movies, with particular attention to period films. Film excerpts are shown in chronological order by the period of the clothing, with examples from different eras of filmmaking and a range of designers to allow for specific comparisons.

Included are a trip to a professional costume house and

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Institute of Performing Arts

MUSICAL THEATRE WRITING The Graduate Musical Theatre Writing Program at the Tisch School of the Arts is the only university program in the world whose exclusive purpose is training aspiring composers, lyricists, and bookwriters in the art and craft of musical theatre collaboration. Summer courses are coordinated with theatrical life in New York City, the richest artistic environment in the world. All summer courses are open to undergraduate and graduate students.

Crafts of Musical Theatre: Bookwriting 4 units This course affords the student an opportunity to undertake an intensive study of the evolution, art, and craft of musical theatre bookwriting through the analysis of a set of widely varied masterworks of the past and present and through daily writing exercises which are critiqued in a workshop environment.

Crafts of Musical Theatre: Composing For Musical Theatre 4 units This is an introduction to the art and craft of composing for Musical Theatre. Participants should have essential musical skills in place (most importantly the ability to notate one’s music, either by hand or using notation programs such as Finale/Sibelius). The emphasis is on the role of the composer as a musical dramatist. Musical theatre masterworks are analyzed as well as selected songs from the worlds of pop, jazz and blues. Class exercises focus on the specific techniques needed to convey plot, character, and action through music.

Crafts of Musical Theatre: Lyric Writing 4 units This is an introduction to the complex and demanding art of lyric writing for the theatre. Elements of basic lyric writing craft including rhyme, song structures, hooks, style, and scansion will be emphasized. The works of great theatre lyric writers are studied. Assigned exercises will explore a variety of song forms and confront such issues as writing for character and developing a lyric voice.

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Crafts of Musical Theatre: Writing for the Cabaret 4 units This course will include a survey of the history of Cabaret as an art form and a consideration of great cabaret entertainers past and present. Current venues for cabaret material will be identified. Students will analyze the great cabaret songs of the past and present day as they study the craft of creating cabaret material of their own. Professional singers will be brought in to sing songs created to satisfy class assignments and an evening of these songs will be presented in our black box theatre.

Musical Theatre Writing Workshop 4 units This intensive, team-taught workshop encourages composers, lyricists, and bookwriters to find their own voices and learn to merge their unique artistic visions with those of other collaborative artists to create exciting new songs in a theatrical context. Students work in rotating teams to write and present songs and scenes, exploring song form, dramatic structure, and the process of conceiving longer works. Theatre songwriting craft, issues of communication between artists of different disciplines, and storytelling through music and text are emphasized. Students are expected to collaborate on assigned projects outside of class time.

The American Musical and the Formation of the American Identity 4 units How has the American Identity been defined and popularized in the American Musical? Several major works of the 20th and 21st century are surveyed in order to illuminate issues of American Identity such as the American Dream, the American woman, and attitudes on war and race. Works examined will range from “South Pacific” to “Ragtime” and “Wicked.”

Institute of Performing Arts

PERFORMANCE STUDIES The Department of Performance Studies offers intensive training in the multifaceted methodology of performance during the summer. Some courses focus on expressive movement, highlighting different performance practices in New York City. In addition, the department also offers the East Coast Artists Performance Workshop and the annual seminar of the Hemispheric Institute, a multi-national consortium of institutions, artists, scholars, and activists dedicated to exploring the relationship between expressive behavior and social and political life in the Americas.

Performance Workshop with East Coast Artist Michelle Minnick/Fernando Calzadilla/Marcia Amaral Moraes 4 units

Hemispheric Institute: Art & Resistance Diana Taylor & Jesusa Rodríguez (Resistencia Creativa, Mexico) 4 units San Cristobal de las Casas, Mexico This course has a $1,000 lab fee.

East Coast Artists’ training has been based on the principle that performers and directors can share a language of the body that not only bonds the group through the creation of ensemble, but also provides specific tools for rehearsal and composition. An important aspect of the work is concerned with the act of performance itself and with deep questions about self, identity and one’s participation in groups.

Limited Enrollment: This course requires an application to the instructor(s). Please prepare a one-page statement outlining your interest and qualifications for enrolling in this course. Knowledge of Spanish is preferable but not required. Please submit statement to noel.rodriguez@nyu.edu by May 27, 2011.

This course explores the many ways in which artists and activists use art (performance, mural paintings, graffiti, writing, music) to make a social intervention in the Americas.

We begin the course by examining several theories about art and activism (from Plato and Aristotle to Brecht, Boal, Buenaventura, Ngugi wa Thiong’o, and Foucault, among others) and then focus on issues of agency, space, event, and audience in relation to major political movements (revolution, dictatorship, democracy, globalization, and human rights) as seen in the work of major practitioners. Jesusa Rodriguez will lead an intensive one-week performance workshop as part of the course.

Limited Enrollment: This course requires an application to the instructor(s). Please prepare a one-page statement outlining your interest and qualifications for enrolling in this course. Please submit statement to noel.rodriguez@nyu.edu by May 27, 2011.

Based on training and performance techniques developed

by Richard Schechner, daily practice includes rigorous yoga, breath and vocal exercises, employs text and personal material, as well as movement and sound as points of initiation for composition. Students work closely with East Coast Artists’ accomplished performers and directors to create solo performances and group compositions.

A significant portion of the workshop is dedicated to the RasaBoxes™ exercises, devised by Schechner. The exercises comprise a psychophysical approach that begins with finding form for nine basic emotional-energetic archetypes through the use of body and the breath. The work then leads to sound and movement exercises, relating to objects and others, language and text exercises, and finally to scene work and the layering and scoring of rasas to create complex characters, to explore and compose scenes, to create choreography and entire performances.

Performances, video screenings, guest lectures, and visits to FOMMA, Chiapas Media Project, a Zapatista community and other activist projects will provide an additional dimension to the questions raised by the theoretical readings and discussions. Students are encouraged to explore possibilities for practice-based research, develop their own sites of investigation, and share their work in a final presentation.

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Maurice Kanbar Institute of Film and Television

FILM AND TELEVISION The time-tested curriculum in the Maurice Kanbar Institute of Film and Television is based on a solid principle: visual storytelling. Students are immersed in all the crafts, beginning with the written word. Courses in scriptwriting, directing, producing, shooting, editing, acting, sound, art direction, animation, and distribution are all offered in the program’s hands-on environment.

Summer courses are designed to meet the needs of both the beginning and the professional film- and video-maker. There are opportunities to accelerate undergraduate and graduate studies and earn great resume-building experience through media internships. Take courses and collaborate with students from around the world, all who share a passion for visual storytelling.

3-D Computer Animation 3 units This is an introductory course in 3D computer animation and modeling. Students use Autodesk Maya software to create still life compositions, virtual sets, and a short animated final project. There are in-depth discussions of CGI production methods as well as artistic techniques used by professional studios to obtain more lifelike animations and compelling environments. Students have access to Windows and Mac workstations as well as the highest-end software in the computer graphics field. The class emphasizes artistic expression using this technical medium. Students are encouraged to explore the possibilities of CGI to create short animated stories. This course has a non-refundable $375 lab fee.

Camera I 3 units Prerequisites: Sight & Sound: Film This course will review B&W theory, cover color theory, and give an introduction to lighting and grip equipment. Basic lighting setups as well as in-camera effects are demonstrated and analyzed and will be shot on 16mm film. Students will collectively film class tests shoots rather than work individually as a director of photography. This class is eight weeks of theory and six weeks of shooting. This course has a non-refundable $375 lab fee.

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Camera II 3 units Prerequisite: Camera I: Film or Cinematographer’s Workshop.

This is a practical application course where advanced cinematography students have the opportunity to take their theoretical knowledge and apply it to interior lighting and shot design. All students are expected to formulate their own exercises for their shoot day, culminating in a presentation to the class. This class shoots in 35mm motion picture color negative film for 9 weeks. Crew participation and professional attitude are essential to the success of this course. This class will use Panavision and Arriflex cameras. This course has a non-refundable $375 lab fee.

Digital Editing and Effects: Final Cut Pro and Avid 3 units A hands-on workshop that addresses key digital editing processes, from media management through advanced editing techniques, and culminates in effects creation using two primary mainstream non-linear systems, Final Cut Pro and Avid. Class exercises will be carried out on both systems.

Detailed attention will be given to the unique aspects of each system and to techniques for moving from one to another.

Where pertinent the integration of supplementary effects programs, such as AfterEffects, will also be examined. Students may work with their own footage or with exercise footage prepared by the instructor. This course has a non-refundable $375 lab fee.

Electronic Cinematography 3 units Prerequisites: Sight & Sound: Studio or Sight & Sound: Documentary A hands-on camera craft class designed to give you the knowledge and skills to navigate today’s electronic media.

Students will explore and master complex digital equipment, software and workflows while also deepening your understanding of classical cinematography. Systems explored will include: Genesis, Viper, RED, P2, XDCAM, HDV and DV. This course has a non-refundable $375 lab fee.

Film Marketing & Distribution 3 units This is a specialized course in film marketing and distribution. Students will study two models: studio distribution and independent film distribution. Major studio distribution topics will include devising a release plan and strategy, analyzing grosses and financial elements and creating an advertising and marketing campaign. The independent film portion of the course will cover film festivals, acquisitions, how to create press materials for indie films, understanding distribution deals, shorts and documentaries, and how to work with agents, publicists, attorneys and producer’s reps. This course has a non-refundable fee of $16.00 per unit.

Film Music Workshop 3 units This course provides an intensive workshop setting where students produce music soundtracks for their films, working closely with composers and/or music from a library. Students will learn about music editing and how to prepare a Music Production Book. Note: At the beginning of this course, all students are required to have fine cuts of the picture they plan to use for their projects. This course has a non-refundable $375 lab fee.

Fundamentals of Dramatic & Visual Writing 4 units This class is an intensive examination of the short film and the fundamental grammar of dramatic and visual writing.

Each student will write and re-write two original screenplays.

In these workshop sessions students will be asked to read each other’s work and give constructive feedback/notes to the writer(s). Lectures will serve as a forum for a comprehensive examination of the “writer’s toolbox.” Through the screening of short films and clips from features as well as the reading of short scripts and sections of feature screenplays, students explore how preeminent screenwriters use the interplay of visual language, structure, and character to create original, compelling, and emotional stories. This course has a nonrefundable fee of $16.00 per unit.

Fundamentals of Sight & Sound: Documentary 6 units The course teaches students to look at their world and to develop the ability to create compelling and dramatic stories in which real people are the characters and real life is the plot. Through close study and analysis of feature length and short documentaries, as well as hands on directing, shooting, sound-recording and editing, students rigorously explore the possibilities and the power of non-fiction storytelling for video.

The course is a dynamic combination of individual and group production work in which each student will be expected to complete five projects. This course has a non-refundable $515 lab fee.

Fundamentals of Sight & Sound: Film 6 units In crews of four students, every student will produce, direct and edit five short B&W film projects (three silent and two with sound). Students will rotate through different crew positions and follow specific exercises with technical guidelines but are encouraged to express themselves creatively.

Visual storytelling from a broad spectrum of storytelling and aesthetic approaches will be the central focus of this class.

Collaboration with fellow students is a central component in this class. Student work is screened and critiqued in class.

Students will be required to purchase a light meter. This course has a non-refundable $515 lab fee.

Fundamentals of Sight & Sound: Studio 6 units The course provides an in-depth exploration of the creative capabilities (technical, logistical, aesthetic) of producing narrative-based studio production work in a multiple camera television studio environment. Students will be trained in working with actors and learning how to connect script and performance to the production of four short studio based projects (each of increasing complexity). Students will develop a single idea into a full-scale production that will be produced “live” in the studio at the end of the semester. The fundamental skills learned in this class (script, performance, lighting, camera, art direction, coverage) will serve as a foundation for all narrative-, experimental-, and documentary-based production work. Some casting and rehearsals take place outside of class time. This course has a non-refundable $515 lab fee.

History of Cinematography 4 units This course deals with the history of the art and science of cinematography. A working Director of Photography will relate a perspective that is unique and factual to a theoretical discussion, which is traditionally academic. Cinematography has a strong tradition of adapting its tools to enhance the storytelling experience. This course has a non-refundable fee of $16.00 per unit.

Intermediate Narrative Workshop 6 units Prerequisites: Sight & Sound: Film and one of the following: Sight & Sound: Studio or Sight & Sound: Documentary.

Students collaborate in crews of four and are exposed to a broad range of production techniques through production experience and class discussion. Each group produces four color sync-sound exercises that explore craft, aesthetic, production and storytelling issues. Students must shoot their projects in film using existing package of school equipment. Each student will serve in rotation as director, producer, camera, sound, and AC/gaffer.

Note: Students should come prepared with a short (i.e., 3-5 pages, but no more than 8-page) script. The production work in this course is strenuous. Students should consider this when designing their summer schedules. This course has a nonrefundable $515 lab fee.

Internet Design 3 units 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. This course has a non-refundable $375 lab fee.

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Introduction to Animation Techniques 4 units This is a beginning course that concentrates on the basic techniques of animation. Class exercises explore a variety of techniques, materials, design, and writing for animation.

Techniques include flipbook, clay, collage, computer and drawing from the model. All work is tested on video, followed by 16mm color film. The course will demonstrate how drawing and graphics relate. At the end of the semester, each student will have an edited, two-minute reel of his or her successful animations and experiments. This course has a non-refundable $515 lab fee.

Language of Film 4 units This course gives an overview of the historical development of cinema as an artistic and social force and acquaints the students with the aesthetic elements of the cinema, the terminology governing film production, and the lines of critical inquiry that have been developed for the medium.

The objective of the course is to equip students, by raising their awareness of the development and complexities of the cinema, to read films as trained and informed viewers. From this base, students can progress to a deeper understanding of film, a greater grasp of the technicalities of film production, and the proper in-depth study of cinema. This course has a non-refundable fee of $16.00 per unit.

Media Internship I and II 1-12 units, variable Internships in film, television, radio, web content, and other media are arranged on a limited basis for those students who are qualified. In these professional internships, the student’s employer or supervisor evaluates the work of the student.

These written evaluations are submitted to the faculty supervisor. Internships may be taken for 1-12 points per semester.

NYU and non-NYU are eligible for internships. Students should call the George Heinemann Memorial Internship Office at 212-998-1722 for further details.

Music for Film and TV 3 units This course examines the artistic, aesthetic, and technical aspects in composing and creating music for film and television. Students look at the relationship between composer, director, and music editor, exploring music as a creative tool.

Through lectures, analysis, demonstrations, and presentations by guest speakers, students learn and deal with the specifics of the film composer’s job, duties, and responsibilities, including the basics of film scoring. The business and personal relationship between composer and director/producer will also be discussed. As a result, students develop the listening and production skills necessary for creative use of music in films, television, and media. This course has a non-refundable fee of $16.00 per unit.

Preparing the Screenplay 4 units This is a screenwriting class in which students will have the opportunity to do the necessary preparatory work before writing a feature length screenplay or long-form television script. The structure of the class will mirror the real world 20

experience of working writers. Students will be asked to come up with an idea for their script, pitch the story, do any needed research, and then proceed to a step-outline and treatment.

This course has a non-refundable fee of $16.00 per unit.

Producing for Film and Television 3 units This course offers an examination of the creative, organizational, and managerial roles of the producer in narrative motion pictures and television. 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 break down, schedule, and budget a feature film or television show of their choosing. This course has a non-refundable fee of $16.00 per point.

Producing for TV 3 units 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, which include news and cultural documentaries, performance and variety shows, and dramatic works. Student producers will engage in a detailed pre-production phase, covering 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.

An analysis of why some projects succeed and others fail is offered. This course has a non-refundable fee of $16.00 per unit.

Production Management: Boards & Budgets 3 units This introductory course explores those management elements that a filmmaker needs to fulfill in order to shoot and complete their feature film or long form television show. Students will examine the structure of the crew and the collaborative responsibilities of crew members, the legal issues of permits, insurance, rights, clearances and permissions; Screen Actors Guild requirements, the management of the production including scheduling, budgeting, transportation, and the production’s responsibilities to cast and crew. The professional practice concerning the structure of the workday hours and turn-around time and safety issues that are the responsibility of the producer, director, DP and shop steward will specifically be covered. The course will explore techniques for on-set casting, location scouting, tech scouts, and read-thrus. This course has a non-refundable fee of $16.00 per unit.

Seminar: Script Analysis 4 units Prerequisite (Tisch Film and TV majors): Fundamentals of Dramatic and Visual Writing, or Scriptwriting I and II This class is designed to help the students analyze a film script. Plot and character development, character 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 include two script analyses.

Note: Visiting students are not required to have perquisite coursework. This course has a non-refundable $16.00 lab fee per unit.

Mad TV and The Colbert Report. The primary assignment is to write at least the first act of an existing sitcom. The language and process of finding comedic situations, storylines, pitching ideas and developing the script is examined. This course has a non-refundable fee of $16.00 per unit.

Special Effects Makeup for Film and Television 3 units

This intensive workshop takes the student from premise to plot to structure of a feature-length screenplay. How to deploy the main character is a critical element of this course.

Students must complete at least a treatment of the full script together with thirty pages of script in order to get credit for this course. This course has a non-refundable fee of $16.00 per unit.

This hands-on workshop is for students wishing to develop their artistry, experienced make-up artists seeking advanced techniques, non-make-up artists just starting out, and anyone who has always wondered “how’d they do that?” Students explore the art of special effects make-up: anatomical reference; visualizing an effect; lighting for make-up; safety using materials; sculpting, molding and applying silicone prosthetics; designing and creating a creature concept maquette, skin safe molding procedures; creating replica props, “out-of-kit” make-up effects including bruises, black eyes, blood, scabs, scars, wounds, burns, and decayed flesh; creating a latex prosthetic mask. Students receive a make-up kit specially designed with all materials necessary to complete in-class projects. This course has a non-refundable $375 lab fee.

Writing the Feature Film 4 units

Writing the Short Screenplay 4 units This workshop is devoted solely to screenplays from 10-30 minutes in length that can be directed in Intermediate or Advanced Production classes. Students are assisted in exploring, developing, and writing appropriate material, from idea to finished script. Work can either be in narrative or nonnarrative form. This course has a non-refundable fee of $16.00 per unit.

Writing for Television: Situation and Sketch Comedy 4 units Prerequisite: Fundamentals of Dramatic and Visual Writing, Script Writing II. Non-majors or visiting students must receive permission from the instructor to register for the course.

Students should email the instructor at dgb3@nyu.edu.

The course covers the fundamentals of comedy writing for sketch shows and half-hour sitcoms beginning with a sequence of short comedy writing exercises a la The Daily Show, SNL,

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Maurice Kanbar Institute of Film and Television

PHOTOGRAPHY AND IMAGING The Department of Photography and Imaging is centered on the making and understanding of images. The curriculum consists of studio and critical studies courses. Students explore photo-based imagery as personal and cultural expression.

To study photography in New York City is to be at the center of a metropolis where the photo lens becomes your insight into a visual experience, including New York neighborhoods such as the fashion, financial, and meat-packing districts; galleries and museums; individuals; urban life; nightlife; theatre; and Central Park. Summer courses are taught by a faculty of renowned artists and working professionals.

Digital Printing 2 units - studio Prerequisites: Photography & Imaging Digital, Digital Tools for Nonmajors, or permission by department.

This three-week workshop will explore a range of digital imaging and printing resources. The aesthetic and technical aspects of color will be discussed along with the implication of scanning, file preparation, resolution requirements and color management for printout. The subtleties of various output devices from laser and ink jet printers to large format ink jet plotters and digital C printing will be covered. The objective will be to discover and execute a printing method best suited for individual projects. Students will have the opportunity to complete a small project of their own. Although the department will have a few digital cameras for student use, it is highly recommended that students own their own digital camera. This course has a non-refundable $350 lab fee.

Indesign: Printed Matter 2 units - studio Prerequisite: Basic knowledge of Photoshop and Illustrator.

This is three-day course is devoted to different levels of understanding the design and production of making a book.

The first class will focus on book design. Students bring in digital versions of their art and decide to translate it into a printed piece. Students will begin to explore InDesign and learn how to use the program to create a publication, deciding on the size and order of image and where text will go. In the second class, students learn how to work with

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type, exploring what typefaces work best depending on your design and art. The class will talk about image pacing and the flow of text throughout a publication. On the third day of class, homework is reviewed and InDesign files are revised if needed. The class then turns to production. Each file is reviewed and made as final as possible and ready for print.

After the third day, students will have their work organized into a book format. This course has a non-refundable $175 lab fee.

Lighting and Production Techniques for Fashion and Portraiture 4 units - studio Prerequisite: Photography II or permission from the department.

This course covers the most common lighting problems encountered in professional photography and cinematography.

Starting with basic three-point lighting for portraiture using simple continuous source lighting, the course will progress quickly to extremely complex set ups using electronic flash as well as lighting for the new generation of hybrid dslr’s (video/still camera) as it moves through multiple environments. Subjects covered include: lighting for portraits, still-life, fashion, interiors, documentary; exterior location lighting using battery powered flash; location scouting and planning according to location limitations; color temperature and color control; and light shaping and control. Students will learn how to use: Digital SLR’s, medium format cameras, Leaf Aptus electronic capture, direct tethered capture using Adobe Lightroom, continuous lighting, electronic flash, color temperature meters and custom white balance profiles as well as the basics of video/sound capture. Lighting equipment is provided. This course has a non-refundable $350 lab fee.

Photography I: Classic Black & White Intensive Workshop

4 units - studio Taught by Editha Mesina, this intensive course explores the practical and creative applications of analog photography, including 35mm and 120mm medium roll-film formats as well as 4x5 view camera systems, using sheet film. Attention will be given to the special character and unique possibilities of each of these format categories, from the responsive

immediacy of 35mm to the high-resolution and perspective control of view camera options. Students will learn essential composition and optical principles and metering techniques; film processing and archival projection print enlarging methods as well as the basics of print finishing and presentation. Classes will incorporate slide lectures of important historical and contemporary imagery, hands-on studio and laboratory demonstrations, critiques of student work and field trips. This course has a non-refundable $350 lab fee.

Photography II: Medium and Large Format 4 units - studio Pre-requisites: Intro to Photo (35mm B&W analog) or Intro to Digital Photography or permission of instructor.

Taught by Thomas Drisdale, this course utilizes medium format (120mm roll film) and large format (4”x5” and 8”x10” sheet film) cameras. Students will explore the special creative advantages of working with larger format films and cameras.

Students will be expected to complete a modest portfolio based on a subject of their own choosing. Representative medium and large format cameras, as well as tripods and light meters will be provided. Students will have the opportunity to work in a professional lab with excellent technical support.

Those who successfully complete this course can expect to have practical experience with camera operation, advanced metering, film processing for contrast control, analog printing, as well as negative scanning for digital output of their negatives. Participants will be required to provide film and paper for the execution of their assignments. This course has a non-refundable $350 lab fee.

Photoshop 2 units - studio Prerequisite: Basic computer experience. This class will meet in a MAC lab.

This workshop explores the possibilities for image manipulation and the steps involved in learning to translate traditional darkroom skills into electronic artwork and montage. The course looks at the basic elements of Photoshop, including selection tools, text, scale, retouching, and collage and introducing the principles of layers and masks and creating composite photographic images. The course covers scanning negatives, slides, and flat artwork as well as color adjustment using levels and curves. All aspects of image creation and enhancement are reviewed with equal importance given to the aesthetic effect and technical ease. This course has a non-refundable $175 lab fee.

COURSES IN PHOTOGRAPHY & HUMAN RIGHTS Students may complete four 2-unit, two-week courses, in five weeks.

Directed Projects: Presentation Strategies (PHR) 2 units - studio This course is open only to students that are taking all of the Human Rights courses.

The focus of this class is on the completion of a body of work; an intensive environment will be created for the devel-

opment of one’s own vision. The project will be self-directed from the student’s personal interest and concerns. The instructor will help direct, challenge and teach the practice of questioning, analyzing and completing a creative project.

Independent thinking and working is fostered, as well as form, content and the way the work addresses a given audience.

Classes include lectures along with group and individual critiques. Students will learn skills in multimedia editing in time-based photography works with sound. This course has a non-refundable $350 lab fee.

Directed Projects: The Photo Essay (PHR) 2 units - studio

This course is open only to students that are taking all of the Human Rights courses.

This advanced course with Photographer Susan Meiselas concentrates on creating photo essays in the context of human rights. Students will photograph, edit, sequence and present a photographic essay that they produce during the course, using allied media when useful; they will also read essential human rights literature and discuss in class its importance in pursuing the photo essay. Issues in effective fieldwork will be discussed, both strategic and ethical. The class will also consider the potential usefulness of such documentary projects and how to target work for greater social impact. This course has a nonrefundable $175 lab fee.

Media Social Responsibility and Human Rights (PHR) 2 units - lecture This course is designed for students that are taking all of the Human Rights courses.

Taught by Louis Bickford, this seminar-style course will provide students with a broad framework of human rights.

Special attention will be paid to the role of media and the arts in making human rights claims and in fostering the human rights movement. Students will receive a solid understanding of human rights law and norms, the development of the human rights movements since World War II, and some of the most significant development in human rights in the current period, including the International Criminal Court, Truth and Reconciliation commissions, and the push for economic and social rights. Additional key topics include “collective memory and human rights” and “challenges to human rights.” Special guests include human rights practitioners for a structured discussion about their organizations and the relationship with human rights.

The Picture Essay for Paper and Pixel (PHR) 2 units - lecture This course is designed for students that are taking all of the Human Rights courses.

Taught by Fred Ritchin, this course will focus on the long-term photographic essay. It will look at both linear and non-linear forms of the essay, with and without the use of text, sound, video and other media. Intent, ethics, grammar and presentation issues will be considered. There will be many references to a variety of historical models from magazines, newspapers, books, exhibitions and digital environments, including the Web.

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Maurice Kanbar Institute of Film and Television

INTERACTIVE TELECOMMUNICATIONS The Interactive Telecommunications Program (ITP) is internationally recognized as a unique and vital contributor of new ideas and talented individuals to the professional world of multimedia and interactivity. Founded in 1979 as the first graduate education program in alternative media, ITP has grown into a living community of technologists, theorists, engineers, designers, and artists uniquely dedicated to pushing the boundaries of interactivity in the real and digital worlds. A hands-on approach to experimentation, production and risk-taking make this hi-tech fun house a creative home.

ITP summer courses provide an extraordinary opportunity for students interested in working at the intersection of art and technology with top scholars and practitioners in the new media industry. Students are encouraged to be as creative and experimental as they wish. You don’t have to be a technical wizard to succeed at ITP—you just have to be willing to learn and to try new things.

Digital Sound Lab 4 units This course provides the student with a basic knowledge of principles and practices of digital audio from a creative perspective. Each class has both an ‘analog’ and a digital component, the former providing the student with an understanding of audio fundamentals (mics, mixers, recording devices, etc.) and the latter focusing on several popular software audio tools and peripherals (Ableton Live, Audacity, Soundhack, etc.). Through demonstrations, class discussions and assignments, the goal is to ensure that students are capable of bringing professional quality audio into their projects, and to introduce them to the underlying concepts that are found in digital production tools, regardless of brand.

The final project is a short audio work which successfully employs the tools and concepts learned.

Introduction to Computational Media 4 units What can computation add to human communication?

Creating computer applications, instead of just using them, gives you a deeper understanding of the essential possibilities of computation. The course focuses on the fundamentals of programming the computer (variables, conditionals, iteration,

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functions, and objects) and then touches on some more advanced techniques such as text parsing, image processing, networking, computer vision, and programming for the web.

The Java-based ‘Processing’ programming environment is the primary vehicle for the class, however we also introduce server-side programming and databases with PHP and mySQL. The course is designed for computer programming novices.

Introduction to Mobile Games with Android 4 units Prerequisites: Intro to Computational Media or equivalent programming experience is required.

Smart phones have opened mobile gaming to a wide audience, beyond the hardcore gamer. In this class, we focus on casual games that reach that broader audience. The class begins with an introduction to building Android applications with Google’s SDK and Eclipse. Students discover the basics of creating layouts and custom views, playing music and sound effects, and getting user input from the touch screen and accelerometer. We also discuss how simple mechanics can make for immensely satisfying games. There is class discussion and readings on the success of casual games such as Bejeweled, Tetris, and Snood.

Introduction to Physical Computing 4 units This course expands the students’ palette for physical interaction design with computational media. We look away from the limitations of the mouse, keyboard and monitor interface of today’s computers, and start instead with the expressive capabilities of the human body. We consider uses of the computer for more than just information retrieval and processing, and at locations other than the home or the office.

The platform for the class is a microcontroller, a single-chip computer that can fit in your hand. The core technical concepts include digital, analog and serial input and output.

Core interaction design concepts include user observation, affordances, and converting physical action into digital information.

Live Image Processing and Performance 4 units Prerequisite: Students should have some working knowledge of Max/MSP before taking this class.

This course teaches the ins and outs of using image processing software with an aim towards some type of real-time use (e.g. a performance or installation). The class looks at ways to manipulate different visual media (time-based, still, vector, and rendered) in real-time to allow students to develop interesting real-time performance systems. While the focus of this class is on using Max for visual work (through a software package called Jitter), it also looks at how to integrate interactive elements (sound, physical interfaces, etc.) into the work. Class time is spent on interface design and software development issues as well. The class explores capabilities of the software in terms of real-time camera input and tracking, generative graphics systems, and media transcoding.

Throughout the class students develop and share ideas on live performance as a medium for visual expression, and learn the software tools necessary to put these ideas into practice in the form of idiosyncratic performance systems. A final presentation in the form of a group performance will be arranged.

New York City: A Laboratory of Modern Life 4 units

Video for New Media 4 units The goal of this class is to provide an overview of both the history of video, and its relevance to present day new media.

Topics covered include aesthetics and concepts, camera usage, editing, lighting, as well as an introduction to interactive video software such as Jitter and Isadora. Through a series of weekly experiments and assignments, students gain experience with video blogging, short format documentary style, post linear narrative, interactive video installations as well as theatrical video design.

Write Once, Access Anywhere 4 units This course covers the fundamental aspects of developing and deploying online and offline applications for mobile devices based on these advanced browser capabilities.

Students will learn how to use HTML5, CSS, Javascript, and frameworks like JQuery to build applications that are virtually indistinguishable from platform-native applications. The focus will be on touch interfaces and small screens, although tablets will also be considered. Introduction to Computational Media or a solid proficiency in basic programming concepts is required, and familiarity with web technologies is strongly encouraged.

New York City remains an important international center for music, film, theater, dance and visual art. This workshop focuses on creating mixed media art inspired by and created for New York City. Students will study the “cultural economy” of the city, through an in depth examination of current New York based photographers, filmmakers, and installation artists. Students will then create four unique pieces of their own, inspired by these artists and energized by the social nature of the city. These pieces take the form of photography, audio art, documentary video, and site-specific public installation. Class time is devoted to lectures, guest speakers, field trips and critique. Basic video and audio editing will be covered in lab sessions.

Powering Across the Digital Divide: Creative Solutions for the Developing World 4 units This course presents students with an opportunity to learn about and connect with information technology and micropower projects in East Africa. The goal of this course is to link ITP students with real people who have real needs. The instructor “introduces” the students to a number of East African residents who have a range of communication and power consumption requirements. For example, Rose is a mother of eight children (four of her own and four orphaned and left with her) who operates a community-based organization (CBO). How can she stay in touch with her community without electricity to charge her cell phone? This is a lab course that covers theories and technologies specific to the developing world. The instructor shares lessons from case studies of projects, organizations and people in Kenya whilst guiding students to develop their own prototype of a practical application for real people located in both rural and urban East Africa. The course also introduces students to development theory, particularly the idea of expanding human rights, capabilities and freedoms.

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Maurice Kanbar Institute of Film and Television

DRAMATIC WRITING Adapting From Fact and Fiction 3 units Prerequisites: Playwriting I or Screenwriting I or department approval.

Writing the full length screenplay or play, based on fact and fiction. This course covers basic dramatic writing skills such as choosing a compelling story, creating complex characters, vital dialogue, structuring the plot, avoiding overwriting and underwriting, location, endings, and rewriting will be the focus of the course. The goal of the course will be a full length script for film or stage.

Intro To Writing the Half-Hour Television Comedy 3 units

A vigorous review of the basic principles taught in Craft I and II with strong emphasis on characterization, dialogue, and structure, including identification of the major dramatic incident and turning points. Classes will focus on both analysis of dramatic texts from contemporary playwrights and student scripts. Professor will give notes on all final projects. The course consists of reading and writing assignments; the final project is a full-length play.

Playwriting II 3 units Prerequisites: Playwriting I or department approval.

This class provides a ground-up exposure to the rigors of half-hour TV comedy script-writing, moving step by step, from premise lines, to the one-page outline, to writing pages, through revision and classroom workshop critiquing. The focus will be on a script for a current television half-hour comedy (live-action or animated). Students will be expected to complete both a full Story and a script.

Completed rewrite of a full-length play and minimum of first half of a new play plus remainder outlined. A new fulllength play: Completion is recommended, but a minimum of 50 pages must be submitted for final evaluation.

Late-Night Comedy Writing for TV 3 units

This course is a rigorous review of the basic principles.

Students are required to complete at least 60 pages of a full length screenplay, along with a revised outline of the full screenplay. It is highly encouraged that students complete a full draft of their screenplay. The reading and analysis of six to eight screenplays is required in conjunction with the student’s original work. Students must come to the first class with at least two ideas for full-length screenplays. Each idea should be described as per the instructor’s directions. Students must complete the required work to move on to the next level.

Joke-writers aren’t allowed to wait until they feel funny. This intensive introduction to the craft of writing topical jokes exposes students to the rigors of producing news-driven jokes and comedy pieces on demand. Students will be required to keep abreast of the news and come to class prepared to write jokes and desk-pieces on subjects that the instructor will select. Students will create material appropriate for different programs and hosts, from “The Daily Show with Jon Stewart” to “Late Night with David Letterman.” Occasional guest speakers from late-night comedy shows will critique students’ material. By the end of the class, students will have compiled a joke packet that may be used to seek work in the field.

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Playwriting I 3 units

Screenwriting I 3 units

Screenwriting II 3 units Prerequisites: Screenwriting I or department approval.

This is a continuation of methodology introduced in Screenwriting I. The goal of the class is completion. You will either: a) begin and complete a new screenplay, or b) complete the screenplay started in Screenwriting I and do a full rewrite. The focus in this class will be on screenplay

structure. An understanding of film language will also be emphasized. If you plan to do a new work, you must come to first class with two ideas for full-length screenplays.

Scene Writing for One-Hour Television 3 units Episodic television demands a specific set of scene-writing skills. This course will specifically address those needs – how to write a teaser or an act break, for example. It will address questions like how to write the final scene in an episode so that the episode comes to a conclusion while the dramatic momentum of the show continues. We’ll target the specific nature of writing conflict scenes between two regular characters (the most important scenes in episodic television), but we’ll also examine such issues as: writing scenes involving both regular and guest cast members; writing within the “voice” of a show; and how to write a scene displaying incremental character development (the greatest differential between episodic TV, and all other forms of dramatic scene writing).

Writing for TV: Sketch Comedy 3 units This is a sketch writing workshop class. A survey of sketch genres and approaches will be integrated with writing assignments and rewriting of one’s own sketches: both privately and collaboratively. The goal is for each student to emerge from the class with several polished sketches. There will be a lot of group critiquing and occasionally group rewriting.

The course may have a guest lecturer. Everyone must bring 1 (ONE) original sketch idea to the first class which you will pitch in 3-4 sentences tops. (And perhaps write for Class 2.)

Writing for Children’s Television 3 units Prerequisite: Intro to Half-Hour Comedy or department approval.

Television aimed at children and teens continues to provide perennial entertainment around the world. How do these series continue to endure, both in a practical and creative sense? Explore writing for “kids’ animated” programs: for different age groups, animation and live-action, narrative and non-fiction, and across the genres of action, comedy, and educational programming. Students will analyze series bibles, premises, outlines, and scripts for existing shows and ultimately develop a spec from concept to script.

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Maurice Kanbar Institute of Film and Television

RECORDED MUSIC The Clive Davis Department of Recorded Music trains future media moguls. It is the first program of its kind, offering professional leadership training for aspiring creative music entrepreneurs. The curriculum includes business, production, and history & criticism courses. Students become proficient in a range of recorded music practices and explore critical writing and music journalism, delving into the cultural impact of recorded music and the history of contemporary musical genres such as rock, R&B, hip-hop, and pop, world and electronica.

Small class sizes, outstanding facilities, and intensive study with active industry professionals make this a popular program for students wishing to spend the summer visiting Tisch and New York City.

DJ History, Culture and Technique w/ DJ Rekha: A Masterclass 4 units In this class, taught by famed DJ, producer, curator and Basement Bhangra founder DJ Rekha, students develop fundamental turntable technique and hone practical skills that every DJ needs to succeed in the modern music industry. Each class will be divided into culture and technique sections. In the culture component students will discuss the history, culture and business aspects of DJing through reading and other course materials. The technique section will consist of hands-on technical lessons in the DJ practice using fully equipped DJ stations. The lab component will focus on beat matching, music programming and turntablist elements (i.e. scratching).

This course has a non-refundable $245 lab fee.

Fundamentals of Audio Workstations I 2 units Students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations through a weekly, lab-based workshop. An emphasis will be made on file management, and system configurations. Students will then start using Pro Tools and Logic Pro, learning the operating modes and tools, gain structure and multi-tracking techniques, using overdubs to build an arrangement. The semester will round out with techniques for editing and “comping”, consolidating tracks and preparing the files for the mix session. This course has a non-refundable $245 lab fee.

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Fundamentals of Audio Workstations II 2 units Prerequisite: Fundamentals of Audio Workstations I, or equivalent.

This course offers techniques, quantization, real-time properties, synchronization and an introduction to virtual instruments and programming in MIDI. Students will focus on mixing both outside and inside “the box;” setting up the mix environment, using equalization, compression, and effects plug-ins and finally using automation. Proper mix master delivery, as well as preparing for mastering will be emphasized. Over two sessions students will have to record, edit, mix and master a 30 second long “TV commercial” (music, voice-over and synchronization to a Quicktime movie). This course has a non-refundable $245 lab fee.

Internship/Career Skills for the Music Entrepreneur 1 to 6 units This program offers students the chance to gain real-world experience as well as a critical foundation for their career success in the music industry. In past summers, students have interned at companies such as Island Def Jam, MTV U, Rush Philanthropic, Germano Recording Studios, Atlantic Records, Cherry Lane Music Publishing, and Sirius Satellite Radio, to name a few. Our summer Internship Program is available to students who have already arranged their summer music industry internship and are interested in earning academic credit through Tisch Recorded Music (subject to approval), as well as students who are interested in obtaining an internship for academic credit, with the assistance and counseling of Tisch Recorded Music.

Upon acceptance into the program, those students who have not already arranged a music industry internship will share with our team their goals and experiences in order to apply for and obtain an internship that best matches their interests.

Students who enroll in the Recorded Music internship program will have the full support of the internship team throughout the course of their internship, starting with a resume and cover letter evaluation, learning goals assessment, internship site selection general advice, and assistance with the application and interview process. This process will be completed between the months of March - May.

TO APPLY: Detailed application instructions available online. If you are applying without a prearranged internship, we recommend that you submit your application no later than March 15, 2011, in order to conduct your search in a timely manner.

Practical Recording Techniques I 4 units Practical Recording Techniques I familiarizes students with the practical aspects of the recording process in the studio by examining the theory, techniques, and science of sound recording. Students will be introduced to the basics of recording studios and sessions through lectures, demonstrations, supplemental reading and assignments carried out in the studio. In tandem with learning the mechanics of the process, students begin to develop their critical listening skills and audio vocabulary. Topics include: the propagation of sound and instrument radiation patterns, hearing and perception, microphones and microphone technique, analog signal flow, and signal processing. This course has a non-refundable $245 lab fee.

Practical Recording Techniques II 4 units Pre-requisite: Practical Recording Techniques I or equivalent.

This course will survey the tools used in the studio and the methods and mechanics behind them. Moving beyond fundamental scientific concepts, we will explore the workings of compressors, equalizers, reverbs and delays. Also, the course will delve into the powerful combination of Pro Tools and analog technology, automation, as well as important concepts in electronics, gain structure and metering. This course has a non-refundable $245 lab fee.

Producing with Bob Power: A Masterclass 3 units Pre-requisite: TBA Acclaimed and award-winning Producer/Mixer/Recordist Bob Power will present a balance of practical and conceptual information designed to expose students to the various recording and production techniques he uses to create his consistent brand of effective production. Power and the students will build a production from the ground up: students will participate and observe as Power produces a world-class New York City talent, working in NYU’s state-of-the-art studios. Part of each day will be devoted to a presentation and discussion of both Power’s and the students’ production work. The course culminates with a networking session/lunch where students will have the opportunity to have their own personal productions critiqued by the instructor. This course has a non-refundable $245 lab fee.

Producing Music with Software & MIDI II 2 units Pre-requisite: Producing Music with Software & MIDI I or equivalent.

This course starts up where the first semester left off, with hardware sequencers followed by extensive training on major software sequencers with the intention of discovering the advantages and disadvantages of each. The final project will consist of programming sound alike productions of famous songs. The students will have to exhibit their newly acquired programming and sequencing skills to get as close as possible to the original recording. This course has a non-refundable $245 lab fee.

Social Entrepreneurship in Music 4 units Some of the music industry figures and organizations who are committed to social causes and have a passion for philanthropy are Ludacris, Bono, Harry Connick Jr., Mary J. Blige, Mariah Carey, Gary Barlow, Future of Music Coalition, and Russell Simmons. The broad objective of the course is to introduce students to the field of social entrepreneurship in music, and hopefully make a contribution to it. Through a judicious mix of assigned readings, case studies, class discussions, team-based activities, on-site visits and special lectures by leaders in the field, students apply the lessons learned to develop a conceptual plan to launch their own social venture in music. The course culminates with students’ presentation of their developed plans in front of a panel of industry leaders in the field of social entrepreneurship in music.

The Art of Mixing with Kevin Killen: A Masterclass 2 units The course aims to demystify some of the intangibles of mixing. World-class record mixer and producer Kevin Killen will provide a complete exposition of his mix methodology and technique. Kevin will expose the very methods he used on his mixes for Peter Gabriel, Elvis Costello, Kate Bush, Jewel, Shaun Colvin, U2, and many others. Specific topics will include the instructor’s personal approach to establishing balances, using compression, automation, enhancing dynamics and developing unique coloration through effects.

The instructor will discuss how technology, budgets and past experiences have shaped his approach to the ever-evolving challenges of the marketplace. The course culminates with students executing their own mixes, and a networking session/lunch where students will have the opportunity to have their own personal mixes critiqued by the instructor.

This course has a non-refundable $245 lab fee.

Producing Music with Software & MIDI I 2 units Prerequisite: Fundamentals of Audio Workstations II, or equivalent.

Through a series of discussions, in-class exercises, and assignments, this course will cover digital audio and synchronization, as well as provide an opportunity for students to learn how to use “programming” tools to create music. Together with Producing Music with Software and MIDI II, the course will cover digital audio and focus heavily on MIDI via multiple platforms, including Pro Tools, Logic, Reason, and Ableton Live. This course has a non-refundable $245 lab fee.

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Skirball Center for New Media

CINEMA STUDIES The Department of Cinema Studies is one of the first university departments devoted to the history, theory, and aesthetics of film and the moving image. The approach to cinema is interdisciplinary and international in scope and is concerned with understanding films in terms of the material practices that produce them and within which they circulate.

The summer offers a unique opportunity for undergraduate and graduate college students. If you are interested in the academic aspects of film or in film production, if you are a preservationist interested in film conservation, or if you are a budding movie critic, this is the place for you. Our courses cover the aesthetic, social, and psychological aspects of film and introduce you to the dominant styles of film: narrative, documentary, and experimental. You will develop a range of analytical skills to build your vocabulary of film.

British Cinema Now 4 units

This course explores trends in British cinema from the rise of the multiplex, through New Labor, to the postcolonial cinema of the present. Genres examined include comedy, the gangster film, the Bond franchise, and the heritage film, as well as new examples of experimental and independent cinema. It considers the centrality of the idea of a “national cinema” to British critics, the role of television in the financing of film, as well as the transnational character of this cinema. Directors whose work is discussed include Mike Leigh, Shane Meadows, Michael Winterbottom, Gary Oldman, Sally Potter, Ken Loach, Pawel Pawlikowski, Gurinder Chadha, Stephen Frears, and Terrence Davies.

The course introduces students to lesser known films as well as those that have successfully crossed the Atlantic, such as The Full Monty, Trainspotting, and Shakespeare in Love. This course has a non-refundable fee of $16.00 per unit.

From Sock Hops to Pop Rocks: The Teen Pic in American Cinema, 1950’s to Present 4 units What do the knife-wielding outcasts of the juvenile delinquency films of 1950s; the giddy surfer girls of 1960s beach comedies; and the disaffected suburbanites of John Hughes’

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movies of the 1980s and ‘90s have in common? They all occupy the world of the “teenpic,” a film genre noteworthy for both its resiliency and adaptability. Yet one might justifiably ask how can we define teenpic as a genre at all? This course addresses this question by charting the transformation of the teenpic over time, from the J.D. films of the 1950s to the teen comedies of today. This course has a non-refundable fee of $16.00 per unit.

Ghosts, Schoolgirls and The Haunted: Transnational Asian Horror Cinema

4 units This course examines the history, aesthetics, and thematic scope of contemporary Asian horror films from Japan, South Korea, Hong Kong, China, Singapore, and Thailand. The goals of this survey course are not only to map out the current geopolitics and economic globalization that has enabled transnational circulation of Asian horror cinema, but also to place the genre in the context of new economic conditions, time-compressed modernization, disciplinary societies, and intensified cultural flows within the region and beyond.

From genre classics such as Song at Midnight and Onibaba to the contemporaries, Audition, Memento Mori, Tetsuo, A Tale of Two Sisters, Nang Nak, and Thirst, this course will screen a diverse set of films followed by in-depth analysis and intensive discussions which foster the critical thinking and writing skills necessary for assessing and advancing arguments about the genre and how the tradition of the genre and contemporary mode of production have met and intertwined throughout history and contemporary socio-cultural conditions in Asia. This course has a non-refundable fee of $16.00 per unit.

Language of Film/Intro to Cine Studies 4 units This course introduces students to the basic vocabulary used in the discussion and writing about film, and through the study to enable students to master the language and develop the skills to read a film in a well-informed way. From the study of key formal terms or concepts, such as mise-en-scene, cinematography, editing, sound, and narrative, the course proceeds to the exploration of the broader context of a film text, for instance, genre, mode and film history. The course’s focus is

to help the students to acquire the competency to do close and cogent reading of a film formally and stylistically. Students are encouraged to relate their reading to the larger modal, generic, and historical context. This course has a non-refundable fee of $16.00 per unit.

Neo Noir 4 units “Neo Noir” explores the multiple ways that films made beyond the classic period reference, appropriate, extend, pay homage to, and even define that amorphous category called “film noir”: from nostalgia to escalation, from remakes to meta discourse retroactively constructing a “genre,” from (further) genre hybridization to the dispersion of disconnected noir elements (crime, paranoia, the femme fatale, subjective flashback, existentialism), from realist-expressionist black and white to blatant and stylized color, from censorship’s dark sexuality to hyperreal violence, from national to international. Rather than attempting to rein in film noir, the course celebrates Neo Noir’s exponential extrapolations. A tentative list of films includes Body Heat, Taxi Driver, Blood Simple, Exotica, One False Move, The Grifters, Memento, Usual Suspects, The Last Seduction, and Kill Bill. Key literary texts will also be examined. Although critical readings are crucial, a large component of the course assignments will include creative works. This course has a non-refundable fee of $16.00 per unit.

Robert Altman: Renegade 4 units

This course will provide an in-depth study of the films of Robert Altman. Primary emphasis will be placed on his development of a narrative mode which in its emphasis on a multi-character structure constitutes an alternative to classical Hollywood filmmaking. As well, his innovations in the uses of sound, editing, camera movement and performance will

be considered. The topic of genre transformation defined in relation to historical, political and cultural characteristics of especially 1970’s America will provide another topic of interest. The course will concentrate on Altman’s status as a renegade filmmaker during the 1970’s, but also provide a sense of the overall contours of his career. This course has a non-refundable fee of $16.00 per unit.

Copyright Law and Policy for Cultural Institutions 3 units This course is offered as a means of addressing the intellectual property issues and related ethical ones that surround the management and preservation of film and video collections and other types of cultural material in collecting institutions.

The course is designed as a professional development opportunity for an existing practitioner as a means of providing either a refresher or an upgrade to existing knowledge and practice.

Some of the questions to be addressed are: What are the various legal rights that may encumber moving image and other cultural material? How do these rights affect the subsequent long term exhibition of the works once they enter into the collection of a museum or archive? How can these issues be managed effectively? What are the international considerations in dealing with content, created in one jurisdiction, but exhibited or distributed in another?

This course also has an online component. Students will be required to analyze existing film, video, paper or other cultural material, examine the intellectual property issues, present findings within existing standards of practice in the field, and use electronic means of communication (NYU Wikis, blog) to compare and contrast findings.

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SUMMER STUDY ABROAD APPLICATION DEADLINE: MARCH 14, 2011

Study abroad with Tisch School of the Arts and experience advanced-level training with scholars from around the world. Be immersed in local artistic and cultural traditions and earn undergraduate or graduate credit.

Please visit www.specialprograms.tisch.nyu.edu to apply and for full course descriptions, schedules, housing, tuition and fees.

AMSTERDAM, the netherlands International Theatre Workshop 8 units Participants receive training in scene study (contemporary or classical), physically based acting (Viewpoints and early Grotowski), action-based script analysis, postmodern dance (technique, improvisation, and choreography), commedia, clowning, mask work, self-scripting and image-based original theatre, narrative acting (Brecht), street theatre, extended voice work (Roy Hart), and Shakespeare. The creation and showing of original work are integral to the program.

BERLIN, GERMANY Photography in Berlin Students take the following two courses to complete 6 units.

German Context and the Practice of Photography 4 units This course is an introduction to contemporary photographic practices in Germany with an emphasis on the implications 32

these practices have for the history of the medium. Immersion into this radically, challenging form of contemporary photography will include presentations by local curators and visits to artist studios. Students will visit the Neue Nationalgalerie and the Akademie der Künste, both of which hold some of the most cutting edge exhibitions in the city. Students will visit contemporary artists’ studios.

Photography and History in Contemporary Germany 2 units This course will introduce students to German photographic history – beginning with the Bernd and Hilla Becher and extending through contemporary German artists using photography, like Wolfgang Tillmans. Their distinct formalism was followed closely, especially in American practices, and continues to be interrogated by contemporary practitioners of the medium. There will be a visit to the Sachsenhausen Concentration Camp Memorial site. The remains of the concentrations camps are critical to understanding both German history and its relationship to current art practices.

Students will also visit landmarks and museums that relate to the division of East and West Germany, including Alexanderplatz, the Brandenburg Tor, Checkpoint Charlie, and DDR Museum.

DUBLIN, IRELAND Students select from the following programs.

Directing and Documentary Filmmaking Students take the following two courses to complete 7 units.

Documentary Approach 3 units

The Arts in Dublin Students take the following two courses to complete 8 units.

Acting Contemporary Irish Playwrights 4 units Contemporary Irish playwrights are renowned the world over.

Brian Friel, Frank McGuinness, Martin McDonagh, Samuel Beckett, Marina Carr, Conor McPherson—the list goes on and on. Under the tutelage of one of Ireland’s leading professional theatre directors, students explore the specific acting challenges these great writers set. Particular focus is given to the techniques required to turn words and stories into exciting physical characters and the role of the individual actor’s imagination in feeding this process. Through work on voice, movement, physical character, scene study, and storytelling, students explore the vital importance of language, physical and vocal, in creating dynamic theatre.

Contemporary Irish Drama 4 units An examination of the works of contemporary Irish playwrights from Brian Friel to the younger generation, such as Sebastian Barry, Marina Carr, and Martin McDonagh. The course provides an introduction to Irish theatre with the opportunity to sample the Dublin theatre scene in its richness and variety. Classes provide historical background, contextual information, and structured discussion of the performances.

The course includes theatre trips to traditional and nontraditional venues, exploring the range of drama available in Dublin and surrounding areas.

Producing Students take the following two courses to complete 5 units.

Film Marketing and Distribution 3 units This is a specialized course in film marketing and distribution. Students will study two models: studio distribution and independent film distribution. Major studio distribution topics will include devising a release plan and strategy, analyzing grosses and financial elements and creating a advertising and marketing campaign. The independent film portion of the course will cover film festivals, acquisitions, how to create press materials for indie films, understanding distribution deals, shorts and documentaries, and how to work with agents, publicists, attorneys and producer’s reps.

Producing a Short Film That Gets You Noticed 2 units For most aspiring filmmakers, the first step they will make into the entertainment industry is with a short film. A good short film can help launch your career, assist you in raising money for feature endeavors, or become a festival favorite, playing the circuit and garnering awards, money, and networking opportunities. This course will teach you, from development through distribution, how the short film universe works so you can improve your chances of success in this very special visual art form. No previous film experience is required.

Course will be presenting documentary choices in work of classical still photographers and film directors. The course will consider use of documentary experience for narrative writing and directing. Following aspects of documentary will be studied in relation to certain practitioners: photographic quality of image (Latigue, Ivens), research (Brassai, Belzberg), detailing (Cartier-Bresson, Flaherthy), experimentation (Vertov), “slice of life” in development (Weiseman); concept through documentary material (Morris), documentary as source for narrative film (Suleiman).

Documentary Workshop 3 units Course will present and practice elements of documentary research. The following topics will be assigned for exercises leading to final project: environment, character, relationship, conflict, intellectual construction. Social significance of choices will be emphasized, novelty of subject will be encouraged, and stamina in development of subject will be analyzed. Course will relate documentary practice to narrative writing/directing.

FLorence, italy Students select from the following programs.

Writing Florence Students take the following two courses to complete 6 units.

Commedia dell’Arte: The Actor as Creator, Clown, and Poet 8 units Prerequisite: Acting I or permission of instructor.

Italy has long considered the actor to be at the center of dramatic creation, beginning in the 15th century with commedia dell’arte to the present-day work of Dario Fo and Roberto Benigni. This course delves into the mask work of the commedia dell’arte in order to liberate spontaneity, physical presence, and a sense of play. Participants in this course work toward combining popular theatre with social commentary, stock characters with a sense of self, and the absurd with daily dramatic life. Course includes mask work, circus skills, scene improvisation, individual lazzi (bits and specialty acts), and the search for one’s own clown work.

Italian Cinema of the Third Millennium: The New Generation of Italian Filmmakers 2 units In the last decade a new generation of Italian filmmakers has emerged, engaging contemporary issues and shaping new aesthetics. In this course students will screen the significant movies released during the last decade to help retrace and contextualize the main events and changes that have marked the life of the country and society in this period. Parallel to this, the technical analysis of the films, supported by critical readings, will help trace an aesthetic of contemporary Italian 33

cinema. Guest speakers include film critics and Italian contemporary directors.

The Arts in Paris

Writing the Feature Film 4 units Prerequisites One of the following: Dramatic and Visual Writing I and II, or Scriptwriting I and Scriptwriting II, or permission of instructor.

Students take the following two courses to complete 8 units.

This intensive workshop takes the student from premise to plot to structure of a feature-length screenplay. How to deploy the main character is a critical element of this course. Students must complete at least a treatment of the full script together with 30 pages of script in order to get credit for this course.

london, england Students take the following course for 8 units.

The Arts in London

PARIS, france

Documenting Culture 4 units This course penetrates Parisian culture from the many compelling points of entry the city offers, including: art, architecture, music, fashion, philosophy, technology, gastronomy and such practices of everyday life as laboring, strolling, conversing, loving, protesting, resting and leisuring. Students will be trained on the essentials of High Definition video production and editing in order to create thoughtful and high quality films, which will be screened in class and posted to the class blog. There will be a series of group exercises focusing on the core craft principles of documentary filmmaking and electronic field production, as well as individual projects that encourages students to explore the fingerprint of his/her own creative curiosity.

Urban Arts Workshop: Paris 4 units

Students take the following two courses to complete 8 units.

Studies in Shakespeare 4 units The focus of this course is Shakespeare’s text as performance; uncovering clues apparent to an Elizabethan actor and consider how this might inform current theatre practice.

Each session is a discrete unit, each with a separate focus blending academic and theatrical in areas such as adaptation and sources, style and interpretation, structure and genre, mythology and history. The final presentation is in the form of a production proposal based on the experience of the course. Work is enhanced by a visit to Stratford-upon-Avon, a performance by the Royal Shakespeare Company, a visit to the Globe theatre and opportunities to view a wide range of recorded productions.

Theatre in London 4 units A selection of theatrical productions is chosen to give students a feel for the breadth and depth of London theatre during weekly theatre visits to the West End and fringe theatres.

Each production is viewed and analyzed as a whole, but the many and varied elements that go into making London theatre supply a different focus each week. Field trips to sites of theatrical interest and guest speakers (actors, designers, directors, or writers) supplement the course.

This course is designed to expose students to the key concepts and fundamental theories of urban studies, public art and the urban-inspired works of many great artists and writers based in Paris. Each class another “form” of urban art will be investigated, including discussions about and encounters with street photography, graffiti, sculpture, installation art, dance, performance art, parkour (freestyle street gymnastics), gorilla theater, art vandalism and underground art, urban sound projects, large-scale projections, poetry, essays and short stories with an aim to understand how such art forms came into being and how they express a distinctly urban message to the inhabitants and visitors of Paris.

prague, czech republic Students take the following two courses to complete 8 units.

Master Class in 35 mm Filmmaking 4 units Prerequisite: Sight and Sound; Film, Sight and Sound; Studio, or first year graduate film program or equivalent.

Taught by world-renowned faculty of Film and Television School of the Academy of Performing Arts, including master teachers who are industry professionals, students receive hands-on training exploring essential elements and tools of advanced film production through 35 mm filmmaking.

Course work covers a detailed overview of screenwriting, directing, and editing, including workshops in 35 mm motion picture camera and lighting techniques.

Seminar on Czech Cinema and Culture 4 units Emphasizing one of the most influential movements in the post-World War II era—the cinema of the Czech New Wave—this course explores the history and development of Czech and Slovak cinema.

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sydney, australia Students take the following two courses to complete 6 units.

Arts and Culture in Sydney 2 units This course is an exploration of Sydney, from a British colony to a thriving, modern cosmopolitan city. Sydney has a vast selection of art galleries, museums, theatre, classical, indigenous and contemporary music, and the performing arts for which to enjoy. The diverse artistic talent, historic buildings and indigenous artifacts are sure to offer unique stories of the settlement of the continent.

Emotional Noise 4 units In this workshop students will experience, articulate and navigate through the ways in which sound and music effect emotional experience. Students will identify, design, implement, and critically evaluate sound and music in the creation of affect in a range of media contexts including film, television, games or radio. The nature of sound, acoustics and psychoacoustics, will be explored (speed, rhythm, dynamics, frequency range, harmonics, loudness, timbre and sound envelope components). Students will explore the relationships between sound, voice, music and emotion, and investigate how they function in audio and audio-visual narratives. Students will synthesize these elements through screenings, lectures, presentations, group work and production.

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SUMMER STUDY ABROAD ADMISSIONS + APPLICATION APPLICATION DEADLINE: MARCH 14, 2011 ADMISSIONS Tisch summer study abroad programs are open to matriculated undergraduate and graduate students at NYU as well as visiting students.

Admission to each program is competitive and based on academic record, creative ability, satisfaction of prerequisites, personal statement (if applicable), interests, and readiness for living and studying abroad.

All students must have a 3.0 minimum cumulative grade point average (GPA) and a valid passport.

APPLICATION REQUIREMENTS All students must apply using the online application system http://specialprograms.tisch.nyu.edu/object/howtoappsumint.html.

In addition to the items listed below, students may be required to submit film treatments and writing samples.

NYU students must submit: • Online application form • Creative résumé • Photograph of yourself (clear image of face) • Official copy of university transcript(s) or Albert printout.

Transcripts must be submitted to the Tisch Office of Special Programs and should include final grades for the year 2010.

Non-NYU students must submit: • Online application form • Creative résumé • Personal statement • Photograph of yourself (clear image of face) • $75 nonrefundable application fee payable online • Official copy of university transcript(s). Original official school transcripts must be submitted to the Tisch Office of Special Programs and should include final grades for the year 2010.

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The online application and all supporting documents must be received by the Tisch Office of Special Programs by March 14, 2011. An incomplete application will not be considered for admission.

tuition Summer study abroad tuition and fees vary by program.

Please check the Tisch Special Programs Web site for details.

LIVING ABROAD All accepted students are required to live in NYU-affiliated housing during the duration of the study abroad program.

Housing costs and accommodations vary by location.

SUMMER CONTACTS Tisch summer course offerings in New York City or abroad, credits, dates, eligibility, fees, and prerequisites: Office of Special Programs Tisch School of the Arts New York University 721 Broadway, 12th Floor New York, NY 10003 212-998-1500 www.specialprograms.tisch.nyu.edu

Summer in New York City course registration and payment information (domestic and international students): Office of Special Sessions New York University 110 East 14th Street, Lower Level New York, NY, 10003 212-998-2292 summer.courses@nyu.edu www.nyu.edu/summer

Summer in New York City housing accommodations: Office of Residential Life & Housing Services New York University 726 Broadway, 7th Floor New York, New York 10003 212-998-4600 www.nyu.edu/summer/housing

New York University transcript: Office of the University Registrar Academic Records New York University P.O. Box 910 New York, NY 10276-0910 212-998-4280 http://www.nyu.edu/registrar/ 37

Office of Special Programs 721 Broadway, 12th Floor New York, NY 10003-6807