2 YEAR FINE ARTS DEGREE

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1 2 YEAR FINE ARTS DEGREE IN FILMMAKING 16mm 35mm Hi-Def Super 16mm RED ONE Telling me to take a vacation from filmmaking is like telling a child to take a vacation from playing - Stanley Kubrick Based on an academic year, the curriculum is divided into four semesters. During the first semester students learn the art and technique of visual storytelling. Courses held during the first eight weeks include: Director s Craft, Hands-on Camera and Lighting, Writing, and Editing. Students use this knowledge to write, direct, and edit four short 16mm films. During weeks nine through twelve students are given instruction on the fundamentals of digital video production and digital editing. Students then write, direct, and edit three digital shorts and/or documentaries. Directly following the three digital projects, students begin preparing for their final Year-One film project. New York Film Academy degree programs are offered at our Los Angeles Campus at Universal Studios. Qualified students have the option of completing course work at the New York Film Academy in New York City in a oneyear non-degree program and requesting that their course work be accepted for advanced standing and start in the second year of the degree program at the Los Angeles campus. In order to do so, students must apply and be accepted to the degree program in Los Angeles. 30

2 The second semester is divided into three phases. The first phase is devoted to intensive instruction, demonstration, group sync-sound directing exercises, individual consultations, and pre-production (including casting, rehearsal, and location scouting). During this phase students have one-on-one consultations as they work with scenes from their scripts. In the second or production phase, each student directs his/her own film and crews on his/ her classmates films. The third phase of the program is devoted to post-production. During this phase, students edit, receive instruction, and screen rough-cuts of the films. Students receive instructor feedback and finish their films for a final group screening. Students spend additional hours each week beyond class-time on the production of their film projects and projects of their classmates. Students should be aware that these hours vary from student to student. During the 5th and 13th weeks and after the end of the 6th month, students work exclusively on film projects while consulting with instructors. Students are responsible for making their own film project schedule, which must be supervised and approved by an instructor. Students also need to collaborate with their fellow students as well as postproduction supervisors to ensure that their projects are completed during the designated times. The overall goal of the Second Year is to challenge students to grow as artists by exposing them to skills, techniques and approaches to filmmaking that are more specific and complex than those they learned in Year One. Students are required to complete projects of increasing complexity. AVAILABLE IN In the Second Year, completed projects allow students to mature in terms of artistic ability, compared with the work of the previous year. One way to insure this is to give the students ample time to complete a Thesis Project by allocating most of class time to discussing and critiquing their on-going projects. LOCATIONS universal studios, hollywood TUITION $15,000 PER SEMESTER** **Additional Equipment Fee: $2,000 per semester. Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects. Toward the end of the program, students attend classes focusing on the Entertainment Business, where they meet guest speakers from the film industry. Lecturers discuss strategies for those students interested in exploring filmmaking careers after completion of the program. Students may choose to direct a feature length film, which means they stay at the New York Film Academy for a fifth semester (Thesis Option B). Students who choose this option, complete the production and post-production portion of their Thesis Project during this Optional Semester Five. 31

3 AFA in Filmmaking Degree program OBJECTIVES The educational objectives in the Associate of Fine Arts (AFA) in Filmmaking Degree Program are to teach students the art and craft of filmmaking and to instruct students through a strict regimen consisting of lectures, seminars, and total immersion workshops to excel in the creative art of filmmaking. YEAR-ONE EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include: The ability to work independently and collaboratively in a high-pressure creative environment An in-depth knowledge of 16mm and Digital Video cameras and motion picture production A working knowledge of 35mm cameras and 35mm film production The ability to write and pre-visualize a screenplay In-depth experience working as a director, producer, assistant director, director of photography, assistant camera person, gaffer, and grip on student productions Mastery of Final Cut Pro digital editing software Knowledge of film history and film studies Knowledge of aesthetic film theory and experience with practical application of the same Year-one requirements The Associate of Fine Art in Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirement: Project 1 - Mise-en-scène Film Project 2 - Continuity Film Project 3 - Music Film Project 4-8-Week Final Film Project 5 - Digital Chekhovian Film Project 6 - Digital Point of View Project 7 - Digital Semester One Final Film Project 8 - One-Year Final Film YEAR-TWO EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include: Grow as artists by finding new and effective ways to visually express stories Hone group problem solving skills through collaboration on increasingly complex film projects Complete shot exercises assigned by instructors, which are designed to challenge their status quo as artists Examine Filmmaking from a business perspective Direct a Thesis Project THIRD AND FOURTH SEMESTER REQUIREMENTS The Associate of Fine Art in Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirement: Project 1 Commercial or Music Video Project 2 - Commercial or Music Video Project 3 - Script Lock on Thesis Script Project 4 - A Greenlight Production Schedule, Budget and Storyboard Project 5 Complete Thesis Project (Excluding those students who choose Thesis Option B) FIFTH SEMESTER (OPTIONAL) EXPECTED LEARNING OUTCOMES & REQUIREMENTS: Skills learned as a result of successful completion of this program include: Completion of Feature Length Film Students must successfully complete every course of study with a Satisfactory grade or better. In order to graduate and receive the AFA degree, students must also adhere to the Academy s Attendance Policy and Code of Conduct. Additionally, students must fulfill all financial obligations to The New York Film Academy. 32

4 Semester one COURSES Director s Craft 1 This course introduces students to the language and craft of film directing. Director s Craft prepares students for the film exercises and is the venue for screening and critiquing their work throughout the course. The Director s Craft instructor challenges students to find the most effective and visually expressive means to tell their stories. This course also exposes students to the unique ways great directors have approached visual storytelling and how they have used mise-en-scène (the task of staging scenes and moving actors within the frame). Hands-On Camera & Lighting In the first week of the course students are trained to use the 16mm Arriflex-S motion picture camera and its accessories. In lighting class they learn fundamental lighting techniques through shooting tests on film. As they progress through the workshop they learn how to support the mood of the story with lighting choices, and they experiment with expressive lighting styles. SCREENWRITING I This course focuses on the fundamentals of visual storytelling and provides students with constructive analysis and support as they take a story from initial idea, treatment, and outline to a rough draft, and finally, a shooting script. The intersection of story structure, theme, character, tension, and conflict is examined through detailed scene analysis. Students are encouraged to tell their stories visually, and not rely solely on dialogue to tell the story. The scripts they write become the basis of all class work and the Year One Final Film projects in the second semester. Student Producing 1 This course teaches students how to break down a film script for budgeting and scheduling purposes. Students learn how to use all the necessary forms for use in their own short films. The importance of having a finished script before going into a shoot is stressed as it applies to creating realistic budgets and schedules. Editing Editing is an art unto itself. Students learn how to use the Final Cut Pro digital editing system. Each student edits his or her own films, and can supplement their classes with individual consultations at the computer. Students are taught the fundamental concepts of film editing, both practical and aesthetic. Directing Actors 1: Acting For Directors This course helps students learn how to communicate and collaborate with their actors. Students learn how to identify a screenplay s emotional beats and character objectives in order to improve their actors performances. Through exercises, students learn how an actor trains him/herself physically and emotionally. Sensory work, emotional recall, and improvisations are the tools the students use to understand how an actor is able to live out a character s reality. Production Workshop 1 In Production Workshop students stage and shoot exercises under the supervision of the instructor. The technical aspects of filmmaking are seen as tools to realize the story. The guiding idea is that once students can articulate the objective of a given scene, the necessary craft and techniques follow. Students design shots to heighten the emotion of a sequence and shoot it on film with supervision. In the next session, they edit the exercise and analyze it with the instructor. First Semester Film Projects While each student in the program writes, directs and edits his or her own films, it is also essential that he or she learn the importance of collaboration. Crews function as working groups for each film project. Thus, each student not only directs a series of projects, but also works in crew positions on his or her colleagues films. Students edit and screen their films for critique and discussion. 33

5 AFA in Filmmaking Art History 1 An introduction to the art and architecture of various geographical areas around the world from antiquity through the medieval period. The course provides foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It focuses on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example, sacred spaces, images of the gods, imperial portraiture, and domestic decoration. HANDS-ON DIGITAL CAMERA & LIGHTING Digital Camera & Lighting class sessions are designed to help students master many elements of digital video photography including white balance, shutter speed, focus, video latitude, gels, and filters. Through hands-on exercises, students explore the possibilities of digital video and learn how it differs from film. Script Supervision: Efficient Shooting In this interactive course, students learn how proper script supervision helps filmmakers effectively tell their stories. Students break down their Year One Final Film scripts and learn an advanced and efficient approach to the organization and management of the shooting day. Students are challenged to maximize the efficiency of shooting schedules and learn practical techniques for creating and preserving spatial and temporal continuity in their films. Digital Video Projects and Semester One Film A continuation of the Film Projects, students direct 3 digitally filmed projects and a culminating Year One Final Film. 34

6 Semester Two COURSES Director s Craft 2 Director s Craft 2 further explores the aesthetic elements of mise-en-scène: shot choice, composition, setting, point of view, action of the picture plane, and movement of the camera. Starting where the first semester directing class left off, students learn how to cover a dialogue scene with a series of shots as well as more sophisticated approaches to coverage including the use of dollies. Students break down scenes from their own scripts to practice different approaches of coverage. They create floor plans and shot lists and discuss their choices with the instructor. Screenwriting 2 Screenwriting 2 focuses on the completion, rewriting, and polishing of the scripts for the Year-One Final Film. Students use live readings of their screenplays and engage in instructor led round table discussions of the work to hone their material. The goal is to increase the writer s mastery of screenwriting as outlined in Screenwriting 1. In order to successfully complete this course, all students must achieve script lock. At the completion of this course, each student formally enters into Pre-Production of the Year-Two Final Film. Student Producing 2 Student Producing II leads students through the entire process of pre-production, including scouting and securing of locations, permits, and casting. The producing instructor and the students design a production schedule for the entire class. The instructor encourages students to form realistic plans for successfully making their films. Using script breakdowns, students learn how to plan and keep to a schedule and budget for their productions. They use their own finished scripts in class as they learn how to take advantage of budgeting and scheduling forms and methods. Directing Actors 2: Casting This course builds on the tools students gained in the Directing Actors I course of the first semester. Students break down their own scripts by identifying the dramatic beats of their scenes and translating this into effective feedback for actors. Students learn to adjust character objectives through rehearsal. This results in specific and believable performances. Advanced Hands-On 16mm Camera & Lighting Students are trained to operate the Arriflex 16SR camera and accessories. Cinematography This class immerses students in the technical and creative demands of cinematography. Color film stocks are tested to help students make the best choice for their films. The use of color correcting filters and gels is practiced through shooting tests. Lighting and contrast ratios are reviewed. By shooting set-ups from students own storyboards, this camera and lighting-centric class provides students with a practical approach to getting the most out of their resources. 35mm Filmmaking This class trains students in the proper use and operation of 35mm cameras and accessories. All the fundamental creative skills and concepts students have learned working with 16mm film and digital video apply fully to 35mm filmmaking. The 35mm class is an opportunity for students to see how the wider frame and higher resolution of 35mm affects their shot design, framing, composition, staging, camera movement, lens choice, and lighting. The class demystifies the process of designing, shooting, and editing scenes on 35mm. Synchronous-Sound Editing This class teaches students to edit their sync-sound projects. Dailies from the exercises conducted in Cinematography class are transferred to digital video so that students learn to sync and edit with dialogue. This gives students the hands-on technical training they need to edit their own projects. Students benefit from the creative discoveries their classmates make when they compare the very different versions that are edited from the same material. Production Workshop 2: Synchronous Sound This class brings together all the elements of the second semester program in a practical hands-on workshop. In a series of sync-sound production exercises students shoot scenes on 16mm film from their own scripts with the guidance and critique of the instructor. One of the course objectives is to empower the students to determine what adjustments to make to their scripts and shooting plans before their films go into production. These practice scenes are fully pre-produced (storyboarded, cast, scouted, rehearsed and pre-lighted) and treated as actual productions. Art History 2 An introduction to the art and architecture of various geographical areas around the world from the fifteenth century through the present. The course provides foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It focuses on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example, humanist and Reformation redefinitions of art in the Italian and Northern Renaissance, realism, modernity and tradition, the tension between self-expression and the art market, and the use of art for political purposes. Year One Final Film Year One culminates in the pre-production, production, and post-production of the Year One Final Film. 35

7 AFA in Filmmaking Semester THREE COURSES Director s Craft 3: Contemporary Masters A continuation of Director s Craft 2; students study the language and craft of film directing from the perspective of the last thirty years. In preparation for the film exercises executed during Production Workshop, students study the style and techniques of contemporary filmmakers like Spielberg, Scorsese, and Coppola. This class is the venue for screening and critiquing their work throughout the course. The Director s Craft instructor challenges students to find new and effective ways to visually express their stories. Advanced Hands-On Digital Camera & Lighting Class sessions are designed to help students master the many elements of digital video photography using professional DV cameras. In preparation for the Semester Three Music Video or Commercial Projects, students learn lighting techniques of increasing complexity, building on their arsenal of skills through shooting tests on film and experimentation. Screenwriting 3 This course focuses on the fundamentals of visual storytelling and provides students with constructive analysis and support as they take their Thesis Project Script from initial idea, treatment, and outline to a rough draft. Each student s work is discussed and critiqued by their peers and instructor during in-class workshops. Student Producing 3 Students apply the fundamentals of film producing to their own Thesis Project. Similar to Student Producing II, this class continues to examine the job of producer by matching tasks and challenges with ways of approaching them. As students start to produce their own projects, the challenges become clear, and some class time is devoted to specific production hurdles. Students hone group problem-solving skills, a film industry must-have, and learn through sharing real examples. Advanced Editing 1 Students continue studying the Final Cut Pro digital editing system. Students are given instruction and asked to complete exercises of increasing complexity. Each student edits his or her own films, and can supplement their classes with individual consultations at the computer. The goal for students is to grow as editors and to understand the wealth of tools available to them in Final Cut Pro that they can use in the post production of their own evolving Thesis Projects. Critical Film Studies In this seminar, students are taught to identify techniques that they may use in their own films through screenings and discussions. They learn how filmmakers have approached the great challenge of telling stories with moving images from silent films to the digital age. The course explores ways that the crafts of directing (particularly shot construction), cinematography, acting, and editing have developed. Instructors select films for screening and discussion from among the great cinematic innovators. The course gives students an understanding of how cinema has evolved from its origins to the present moment and where they find themselves in that development. Production Workshop 3 In continuation of Production Workshop II, students stage and shoot exercises building in complexity, under the supervision of the instructor. Students are introduced to a broad range of technical aspects of filmmaking. Through these exercises, students learn various techniques and practical tools that they can use to successfully complete their Thesis Project. Advanced Film Projects While each student in the program writes, directs and edits his or her own music videos or spec commercial, it is also essential that he or she learn the importance of collaboration. Crews function as working groups for each film project. Thus, each student not only directs a series of projects, but also works in crew positions on his or her colleagues films. Students edit and screen their films for critique and discussion. 36

8 Semester FOUR COURSES Screenwriting 4 Screenwriting IV focuses on the completion, rewriting, and polishing of each students Thesis Project. The goal is to increase the writer s mastery of those aspects of screenwriting as outlined in Screenwriting III. In order to successfully complete this course, all students must achieve script lock. At the completion of this course, each student formally enters into Pre-Production of the Thesis Project. Student Producing 4 Student Producing II leads students through the entire process of pre-production, including scouting and securing of locations, permits, and casting for their Thesis Projects. The producing instructor and the students design a production schedule for the entire class. The instructor encourages students to form realistic plans for successfully making their films. Using script breakdowns, students plan and keep to a schedule and budget for their productions. They use their own finished scripts in class as they learn how to take advantage of budgeting and scheduling forms and methods. Entertainment Industry Seminar Students examine filmmaking from a business perspective. Topics include the history of the studio system, the job of production companies, professional guilds, financing, film festivals, and the roles of agents and managers. Students meet industry professionals during special guest lectures. Cinematography 2 This class is a continuation of Cinematography I. Students learn new, complex approaches to cinematography, and shoot set-ups from their own Thesis Project storyboards. This camera and lighting-centric class also provides valuable practice that will allow students to get the most out of their resources. Advanced Editing 2 This gives students the hands-on technical training they need to edit their own projects and assigned exercises. Students benefit from the creative discoveries their classmates make when they compare the very different versions that are edited from the same material. Thesis Project Year Two culminates in the pre-production, production, and post-production of the Thesis Project. Thesis Option A: Short Form Thesis Film and Feature Prep. The requirement for students who choose to pursue this track is twofold: 1. Associate degree candidates must direct and shepherd a short-form thesis film through postproduction. Projects may be up to 30 minutes in length, and must be delivered prior to graduation. Students may choose from all media formats studied over the course of the program to film their thesis films. 2. Associate degree candidates must also preproduce and package the feature scripts they wrote and developed during year Two Advanced Producing and Screenwriting classes. Students must present a polished script, storyboards, a budget, and production schedule. Thesis Option B: Feature Length Film Production Students enter Pre-production of a feature film in Semester Four with the guidance of an appointed faculty member. Mandatory consultations with these appointed faculty members are necessary for students to gain guidance and an understanding of the grueling tasks inherent to feature length film production. These consultations also include a clear template of delivery dates for script deadlines, casting calls, production meetings, budget breakdowns, location lockdowns and a demonstration of financial responsibility to obtain approval to shoot. Students must receive a green light before beginning production on their thesis films. Students who direct feature length thesis films must also collaborate in prominent crew positions for students directing short form thesis films. 37

9 2 YEAR FINE ARTS DEGREE IN ACTING FOR FILM This two-year degree program is designed for individuals with a high school diploma or equivalent who desire to achieve a higher degree, but want to focus exclusively on acting, with a concentration on acting for film. Classes include Scene Study, Acting for Film, Meisner Technique, Voice and Movement, Monologues, Improvisation, Audition Technique and Stage Combat. A complete list of classes can be found below. In addition to the course work, students perform numerous projects, both oncamera and on stage. New York Film Academy degree programs are offered at our Los Angeles Campus at Universal Studios. Qualified students have the option of completing course work at the New York Film Academy in New York City in a one-year non-degree program and requesting that their course work be accepted for advanced standing and start in the second year of the degree program at the Los Angeles campus. In order to do so, students must apply and be accepted to the degree program in Los Angeles. 90

10 AFA IN ACTING DEGREE PROGRAM OVERVIEW Based on an academic school year, the curriculum in the Associate of Fine Art in Acting for Film program is divided into four semesters. The first semester concentrates on building a foundation in the acting craft, and the second semester works on applying it to screen acting. During the first semester, students participate in a broad array of class work that introduces them to, and trains them in, the leading acting techniques. First semester courses include: Acting for Film, Movement, Scene Study, Voice, and Shakespeare. These courses build towards a fully realized performance in a staged production. The first semester arms students with the techniques and confidence they need to create believable performances for the camera in the second semester and beyond. In the second semester, in addition to attending classes, students apply what they have learned to a series of on camera exercises. The camera exercises are designed to develop their screen acting ability. Second Semester courses build on the work done in the first semester. At the end of the semester each student performs in a digitally taped production, which is edited and becomes a part of his or her acting reel. In addition, the students participate in a showcase performed in front of an invited audience, their instructors, and their classmates. The Third and Fourth Semester of the program are designed to help the student create a Final Portfolio that will serve as the student s passport into the professional world of acting. All work during these last two semesters is held to a higher standard and evaluated at a professional level. While the first year concentrates on exposing the student to acting basics, second year coursework is geared toward a higher echelon of understanding in terms of craft and discipline. The second year is more specialized and the individual students, now aware of their strengths as performers, have more freedom to exploit those strengths through the projects they chose. As a result, work becomes refined and sharpened. Students spend additional hours each week beyond class time on film shoots and rehearsal. Students should be aware that, given the different nature of various projects, these hours vary from student to student. DEGREE PROGRAM OBJECTIVES The educational objectives in the Associate of Fine Art in Acting for Film Degree Program are to teach students the art and craft of acting for film and television and to instruct students through a strict regimen consisting of lectures, seminars, and total immersion workshops to excel in the creative art of film acting. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include: The ability to work independently and collaboratively in a high-pressure creative environment. In-depth knowledge of and experience with the art and craft of acting for film and television. Experience with multiple modern and classical approaches to performance, script interpretation, and character formation. Understanding of avenues for exposure using new media. Ability to act confidently in front of the camera as demonstrated in several film projects in collaboration with NYFA filmmaking students. LOCATIONS TUITION AVAILABLE IN UNIVERSAL STUDIOS, HOLLYWOOD $12,500 PER SEMESTER 91

11 AFA in Acting for Film COURSE DESCRIPTION Scene Study 1 In this course, students learn to analyze scripts and break them down into units or beats. They develop a solid grounding in establishing a character based on their own experiences and imagination. They also learn to bring together all of the disparate disciplines learned in all of their other courses. Meisner 1 In this course, students learn the approach to acting taught by the late Sanford Meisner. Meisner is largely based on listening and observation that helps actors to be grounded in the reality of the moment. Voice 1 This course teaches students to access their natural voice through relaxation exercises designed to improve alignment and alleviate habitual tension. They also study Standard American Speech and IPA (International Phonetic Alphabet) to diminish regional dialects and attain more resonant speech. Acting for the Camera 1 In this course, students become comfortable on a film set in front of the camera. Terminology is addressed, with an emphasis on getting performances out of the actors that are geared for the specific shot size. Theatre to Film Actors learn the history and development of the craft of acting for the screen. Students explore the evolution of film and television media and how actors fit into that historical landscape. Art History 1 An introduction to the art and architecture of various geographical areas around the world from antiquity through the medieval period. The course provides foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It focuses on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example: sacred spaces, images of the gods, imperial portraiture, and domestic decoration. Monologues In Monologues, students learn the skills necessary to hone and focus their acting skills when they cannot rely on a scene partner to carry them through. Students work on monologues from theatre and film sources that help them learn how to command attention with their acting. Improvisation 1 In order to truly be effective actors, students must learn how to abandon fear of disapproval and freely release their impulses in the moment they occur. Through a variety of exercises designed to help cast off inhibitions, actors experiment with group dynamics and individual expression vital to vibrant and truthful performances. Audition Technique In this class, students learn the etiquette and unique skills needed to audition well. Students work in a mock audition format that is videotaped for critique. Special Lecture: The Profession This class focuses on the marketing skills and the tools needed to get interviews with casting directors and agents. It also addresses etiquette used when dealing with industry professionals under a variety of circumstances. Movement 1 In this course, students begin to experiment with different ways of becoming physically present in their work. Elements of various approaches are taught, including some or all of the following: modern dance, yoga, Alexander Technique and Laban movement. 92

12 Film Craft 1 In this series of classes, students learn directing, producing, screenwriting, etc. from the actor s perspective. Learning the roles of all the players on a film set dramatically increases the actor s ability to collaborate with the filmmakers in developing dynamic performances. Art History 2 An introduction to the art and architecture of various geographical areas around the world from the fifteenth century through the present. The course provides foundational skills (tools of analysis and interpretation) as well as general, historical understanding. It focuses on a select number of major developments in a range of media and cultures, emphasizing the way that works of art function both as aesthetic and material objects and as cultural artifacts and forces. Issues include, for example, Humanist and Reformation redefinitions of art in the Italian and Northern Renaissance, Realism, modernity and tradition, the tension between self-expression and the art market, and the use of art for political purposes. Production Workshop Production Workshops are opportunities for the actors to practice what they have learned in class in a hands-on way. Actors collaborate with the filmmakers on film projects that are shot either on the studio sets at Universal or on location in and around Los Angeles. Scene Study 2 In this course, students go further with the work done in Scene Study I, with an emphasis on classical or stylistically different material. Students learn how to be emotionally honest in a universe that is markedly different from their own. Meisner 2 A continuation of Meisner 1, students learn how to apply the moment to moment work to characters outside of their own experience. Voice 2: Speech An extension of Voice 1, Voice 2: Speech focuses on using the techniques learned in Voice 1 for performance. In addition, students use IPA in order to successfully master dialects including (but not limited to) Standard British, Cockney and Brooklyn. Acting for the Camera 2 Actors take what they learn in Acting for the Camera I and apply it to in-class exercises. On a weekly basis, actors prepare a script and digitally tape the scene. Movement 2 Actors continue with more demanding physical work designed to heighten performances. Elements of period movement and dance are addressed for specific works that require historical accuracy. Shakespeare Students learn historical perspective on the works of Shakespeare to better understand these classic works of theatre. Text analysis is done using a variety of approaches including scansion, the Freeman method (using the First Folio text), soundings, and poetic and rhetorical devices to gain a better appreciation of this master playwright. Stage Combat Students learn how to safely portray choreographed violence for the screen. Elements of various martial arts are employed to create interesting fight sequences that keep the actor safe from injury. Performances These performance opportunities (spaced evenly throughout the program) allow our students to incorporate all of their learning and experience into performing for a live industry audience. While the focus of the Associate of Fine Arts in Acting for Film is entirely on acting in filmed work rather than in live theater performances, film actors often perform in live showcases for casting directors and industry professionals. This course prepares AFA candidates for such showcases and furthers their dramatic skills for use in later filmed projects. 93

13 AFA in Acting for Film Playwrights 1 In this course, students examine contemporary playwrights like Chekov, Miller and Beckett. Text analysis and plot structure are treated as fundamental tools for rehearsal and performance. Students learn how to use certain elements of the writing, like mood and sub-text, to enhance performance. Movement 3 Students learn advanced techniques in yoga, modern dance, and Tai Chi to continue to develop the skills acquired during Movement 1 and Movement 2. Students must challenge themselves to move into a new realm by discovering and pushing boundaries. Scene Study 3 Using scripts written by NYFA filmmaking students, acting students use class time to break down the scripts for the projects on which they are collaborating. This class serves as an intense rehearsal for those projects. New Media for Actors Students explore new media outlets from the perspective of an actor. Websites that specialize in user created content such as YouTube are useful marketing tools in the evolving new media world. To successfully complete this class, students must complete a new media project of their own design. One such project may include creating a website featuring their resume and samples of their work. This class teaches students to find creative ways to use new technology to market themselves as actors. This project will be included in the Final Portfolio. Critical Film Studies In this seminar, students are taught to identify techniques that they may use in their own films through screenings and discussions. They learn how filmmakers have approached the great challenge of telling stories with moving images from silent films to the digital age. The course explores ways that the crafts of directing (particularly shot construction), cinematography, acting, and editing have developed. Instructors select films for screening and discussion from among the great cinematic innovators. The course gives students an understanding of how cinema has evolved from its origins to the present moment and where they find themselves in that development. Production Workshop 2: Acting for TV Film actors learn the techniques necessary for a multi-camera shoot for television by rehearsing a pilot sitcom. Students learn the technical aspects of working on a set with multi-camera set-ups. Dialect Workshop Students are introduced to the fundamentals of speech and diction for actors, and to basic dialects that are used most commonly in contemporary dramatic texts. Advanced Acting Projects 1 Acting students collaborate with NYFA Filmmaking students and complete several projects. The filmmakers direct short projects in which the acting students perform. Students compile all completed work onto a DVD, and this accounts for a portion of their final portfolio. Comedy Workshop This course covers comic character development, sitcom material, sketch comedy, scripted and improvised material taught through monologues, exercises, improvisations, and theatre games. Students learn to distinguish different styles of comedy to create characters for sitcoms as well as sketch comedy and develop audition techniques for comedic film roles. Students screen comedic material for the purposes of analysis. Scene Study 4 Film Actors continue to create and design their own unique film acting craft and further develop acting techniques. In continuation of Scene Study 3, students bring to class scripts from projects they are currently collaborating on with NYFA Filmmaking students. Playwrights 2 In this course, students study the works of contemporary playwrights such as Stoppard, Mamet, and Kushner. Students look closely at style as it relates to current forms and genres. Advanced Audition Technique In this class, students are challenged to develop their audition and cold reading skills needed to land highly competitive roles in the industry. Students work in a mock audition format that is videotaped for critique. Advanced Acting Projects 2 Actors learn to fully integrate the mind-body connection through performance for the camera. Emphasis is placed on fully incorporating into performance the techniques learned during the first three semesters. Film actors work on advanced and/or experimental projects in collaboration with NYFA Filmmaking students. 94

14 The Classical Core At the center of the New York Film Academy s Classical Acting Training is an immersion in performance-based scene work. Students blend research and technique through live performance. The Greeks/Romans Students perform using neutral masks to convey epic emotions and timeless mythology. Rooted in the ritual tradition of Greek and Roman drama (the plays of Aeschylus, Sophocles, Euripedes, Aristophanes, Plautus) contemporary stories such as the Broadway musical The Lion King and Woody Allen s film Mighty Aphrodite use masks and choral performance to tell the story. The English Renaissance Theatre (Elizabethan, Jacobean and Caroline Theatre) Scene work and text analysis provide students with the keys to unlocking specific acting choices through the heightened language in the plays of Shakespeare, Christopher Marlowe, or Ben Jonson. These plays and authors are at the core of English language plays and pose specific challenges in performance. The Neo-Classics When English theatre stagnated during the mid-17th century, European playwrights flourished. The influence of the Ballet-Russe on the French court had a major impact on the drama of this period, and resulted in the celebrated texts of Corneille, Racine, and Moliere. Students perform scenes and confront the unique challenges of working with translated texts in performance. Restoration Comedy The re-emergence of theatre in England gave us the highly stylized plays of Sheridan, Congreve, and Wycherley. Also known as Comedy of Manners, the influence of these plays can be seen in today s contemporary sitcoms as well as films such as Amadeus, The Duchess, Sense and Sensibility, Age of Innocence, and Dangerous Liaisons. Students perform in period costume and incorporate appropriate speech, manners and postures. Early 20th Century Noel Coward, Oscar Wilde, George Bernard Shaw and Anton Chekhov have emerged as several of the leading writers of the early 20th Century. Students perform scene work from authors who are perhaps the most familiar names to modern audiences. Students will also have the opportunity to interact with visiting acting professionals currently working on classic texts. Entertainment Industry Seminar Industry professionals give special lectures to help the students understand the current trends in headshots, resumes, representation and reels. Final Portfolio In the beginning of Semester Three, students are assigned advisor to oversee the completion of their Final Portfolio. The materials contained in the Final Portfolio are designed to be the student s passport into the professional world of acting. Projects, assigned by instructors, must be completed to graduate. Students design a Career Blueprint, a personal statement that fully outlines a plan for life after NYFA, in consultation with their advisor. The Final Portfolio represents the student s best work as a qualified industry professional. Contents of Final Portfolio: Headshots Film Acting Reel New Media Project Resume Career Blueprint GRADUATION REQUIREMENTS Students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills: Scene Study Meisner Voice Movement Audition Techniques Improvisation Complete Final Portfolio Students must successfully complete every course of study with a Satisfactory grade or better. To graduate and receive an AFA degree, students must also adhere to the Academy s Attendance Policy and Code of Conduct. Additionally, students must fulfill all financial obligations to The New York Film Academy. Satisfactory completion of 65 Semester Credit Units is required for graduation from the New York Film Academy s Associate of Fine Art in Acting for Film Program. The Associate of Fine Art in Acting for Film Program is an accelerated full-time study program and does not provide for multiple tracks of study. All courses are mandatory. This is a highly specialized program, and there are no majors or minors. The program may not be completed in less than four semesters. Classes are taught in either a lecture, seminar or laboratory format. Students are also scheduled for hours of practicum. For the designation of instruction hours, lab and practicum are treated as studio hours as is customary in visual arts studies. 95

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