The project based curriculum of the MFA in Filmmaking covers all the steps of the filmmaking process for both narrative and documentary filmmaking: script, pre-production, production, and post-production. In addition a thorough grounding in the history and theory of film is covered. The MFA in Filmmaking is a six quarter cohort program.

MAPR—511: Art of Directing (3)

Art of Directing concentrates on two crucial areas of the directing process—working with actors and the technical aspects of directing. First, students concentrate on the professional and emotional relationship between the actor and director. Next, students focus on set issues including lighting, set design, lens selection, and blocking.

MAPR—505: Production 1 (4)

Production 1 provides an introduction to the basic elements of camera operation and lighting with specific attention to the fundamentals of exposure and control of the image and provides an overview of the entire production process. Students complete two short individual projects and one small group project on Super 8 film. Concurrent Enrollment: MAPR—541.

MAPR—522: Production 2 (5)

Production 2 builds on the principles taught in Production 1 and provides an introduction to collaborative production and the crew experience and introduces skills in the areas of pre-production, blocking, directing, and production planning. Students are introduced to lighting and camera operation at the intermediate level with film and HD cameras. Students assume a specific crew position and complete a 16mm MOS group project that melds the creative use of sound and image. Concurrent Enrollment: MAPR—542.

MAPR—523: Production 3 (3)

Production 3 builds on the principles taught in Production 2 in the areas of pre-production, directing and production management. The class provides continued instruction in lighting technique and camera operation as well as an introduction to location audio recording. Students complete a collaborative crew project in HD that highlights the creative and effective use of dialog and visual storytelling. Students assume a specific assigned crew position that is different than the crew position held in Production 1. Concurrent Enrollment: MAPR—543.

MAPR—524: Production 4 (3)

Production 4 builds on the principles taught in Production 3 and provides advanced instruction in audio, lighting, cinematography, and camera operation. Students complete a capstone collaborative project in Super 16mm or HD crewing in their area of specialization. Field trips and guest lectures highlight the role of the entire structure of film/video production ranging from production houses and soundstages to digital and audio post-production and the film lab. Concurrent Enrollment: MAPR—544.

MAPR—525: Production 5 (4)

Production 5 provides advanced experience in creating individual projects and/or a framework for a final capstone project. For individual work, students take direct responsibility for projects that highlight cinematic elements to define personal interests, values, and perspectives. Students develop projects appropriate to their own sensibility that can include experimental, narrative, or documentary work.

MAPR—526: Production 6 (4)

Production 6 provides the framework for the implementation and completion of the capstone project as well as individual projects. In addition, students complete a portfolio/demo reel that highlights their own personal skill-sets and career interests.

MAPR—531: Non-Fiction Filmmaking 1 (2)

Non-Fiction Filmmaking 1 provides an introduction to the theory and practice of documentary filmmaking with class study and analysis of documentary work. Emphasis is on the development of the research, conceptualization, and preproduction skills required for nonfiction filmmaking including interview techniques. Students engage in a collaborative documentary project including research, writing, directing, and shooting. Concurrent Enrollment: MAPR—522, MAPR—542.

MAPR—532: Non-Fiction Filmmaking 2 (2)

Non-Fiction Filmmaking 2 builds on the principles taught in Non-Fiction Filmmaking 1 with specific attention to scripted and non-scripted documentary material and to other forms of non-fiction projects including marketing and promotional pieces. Students work collaboratively as a team in completing a marketing or promotional work. Concurrent Enrollment: MAPR—523, MAPR—543.

MAPR—541: Principles of Editing 1 (5)

Principles of Editing 1 provides an introduction to the art, theory, and craft of editing with detailed attention to the entire conceptual process from storyboarding to the final version. Students also gain practical experience and hands-on instruction in editing programs and edit all projects produced in Production I. Concurrent Enrollment: MAPR—521.

MAPR—542: Principles of Editing 2 (3)

Principles of Editing 2 builds on the principles taught in Principles of Editing 1 with specific attention to the relation between visual imagery and sound design and provides the foundation to the techniques and aesthetic principles for editing dialog, music, and sound effects. Students sharpen analytical skills with critiques of all projects completed in Non Fiction Filmmaking 1 and Production 2. Concurrent Enrollment: MAPR—522, MAPR—531.

MAPR—543: Principles of Editing 3 (3)

Principles of Editing 3 builds on the principles taught in Principles of Editing 2 with advanced instruction in the theory and practice of editing dialog in narrative work and offers both a theoretical and structural overview of the editorial process of both narrative and non-fiction work as material progresses through each successive editorial version. Students edit and critique all material produced in Non-Fiction Filmmaking 2 and Production 3. Concurrent Enrollment: MAPR—523, MAPR—532.

MAPR—544: Principles of Editing 4 (3)

Principles of Editing 4 builds on the principles taught in Principles of Editing 3. The class provides advanced instruction in editing workflow, the relation between film, video, and digital formats and conversion issues, technical and creative aspects of electronic imaging, and offers specific attention to advanced editing problems, visual effects, audio, and color correction. Students edit and critique all material produced in Non-Fiction Filmmaking 3 and Production 4. Concurrent Enrollment: MAPR—524, MAPR—533.

MAPR—599: Special Topics (4)

Special Topics focuses on detailed investigations of new or emerging aspects of new media, film/digital production, television, and/or distribution and exhibition with active participation of visiting faculty and specialists.

MASW-521 – Screenwriting 1: Fundamentals and Character Development (5)

Students learn story concept development and how to create realistic and empathetic characters, screenplay conventions and format, and characteristics of established genres. The course emphasizes telling a story cinematically in terms of action and character portrayal.

MASW-522 – Screenwriting 2: Structure and Process (5)

In Structure and Process, students develop the basic storyline for their screenplay. The class focuses on the specific elements of the screenwriting craft including creating story, structuring the plot and subplots, plot points, ingredients to construct effective opening pages, and the structure of dramatic scenes.

MASW-523 – Screenwriting 3: Creating the First Draft (5)

In Creating the First Draft, students begin their screenplays and have individual readings of their pages in class with discussion and analysis. This course deals with the overall structure of screenplays from the individual scene to the rhythms of the complete piece. In addition, the class focuses on effective dialogue, adding “twists” to the story, and the basic techniques of comedy and humor.

MASW-524 – Screenwriting 4: The Business of Screenwriting (5)

In this course students will finish writing the first draft of their screenplay, reading and analyzing pages in class. The class will focus on the tools and elements for creating suspense, finding creative titles, entering festivals and contests, registering scripts, pitching, finding an agent, and rewriting for the next draft.

MACS—511 History of Cinema 1: 1894-1929 (5)

History of Cinema 1: 1894-1929 provides an introduction to the early history of cinema: its precedents, its origins, and the technological, commercial, artistic, and political factors in its development from “silents” to “talkies”.

MACS—512 History of Cinema 2: 1930-1959 (5)

History of Cinema 2: 1930-1959 focuses primarily upon the “Golden Age”
of American cinema — the maturation of narrative and genre, refinements in
cinematography, and the solidified dominance of Hollywood worldwide. A portion of the course will be dedicated to key individuals working outside of the U.S. and/or outside the Hollywood studio system during the period.

MACS—513 History of Cinema 3: 1960-1989 (5)

History of Cinema 3: 1960-1989 covers cinema in the wake of the decline in the Hollywood “studio system”. The period spans the emergence of New Wave film, “New Hollywood”, and the return of the blockbuster.

MACS—514 History of Cinema 4: 1990-present (5)

History of Cinema 4: 1990-Present surveys recent trends in cinema, from new technologies and methods of distribution to the rise of third world cinema.

MAPF—501 Elements of Producing (3)

Elements of Producing provides an overview of the producing process with specific attention to the areas of producing that are needed to produce projects ranging from commercials to independent feature films.

MAPR—901: Professional Internship Program (1-6)

The Professional Internship Program is open to all students who complete the program requirements. Students are encouraged to use the program as a way of focusing and developing their career in the areas of producing that they are specifically interested in pursuing. The Professional Internship Program is managed through Career Services at Seattle Film Institute. Students, with program permission, may register for MAPR—901.