Note: This course listing is for informational purposes only and does not constitute a contract between CIEE and any applicant, student, institution, or other party. The courses, as described, may be subject to change as a result of ongoing curricular revisions, assignment of lecturers and teaching staff, and program development. Courses may be canceled due to insufficient enrollment.
CIEE Study Center Syllabi
To view the most recent syllabi for courses taught by CIEE at our Study Centers, visit our syllabi site.
Required CIEE Intensive Language Course
CZEC 1101 PRFS
Intensive Beginning Czech Language
The two-week intensive (three to five hours per day) Czech course provides students with the basic skills needed to communicate on a daily basis. The course focuses on grammar, conversation, listening, and reading comprehension. The class continues on a weekly basis until week 6 of the semester. Contact hours: 50. Credit: 3 semester / 4.5 quarter hours.
Required CIEE Courses
FILM 3001 PRFS
Topics in Production
This seminar-style course consists of workshops and seminars, encompassing theory and practice. The course culminates in the pre-production of a short 16mm film. The specific units are screenwriting (short form), cinematography, camera and film language, directing, acting, editing, and sound. During this course lectures and preliminary exercises introduce students to techniques and theory in a variety of filmmaking disciplines. Students form creative teams, preparing for the end of semester 16mm film projects. Contact hours: 60. Credit: 4 semester / 6 quarter hours.
FILM 3002 PRFS
Filmmaking Practicum and Mentorship
This mentorship and practicum is a continuation of topics in production. Entering the practicum with a fully prepared technical script, students engage in pre-production, production, and post-production of a short 16mm film, under the supervision of faculty mentors and the support of FAMU studio production staff.
Students consult with the entire FAMU faculty, but each team also has one primary mentor who oversees, guides, consults, and helps troubleshoot for the project. Contact hours: 60. Credit: 4 semester / 6 quarter hours.
Required CIEE Courses
SCWR 3001 PRFS
Through intensive analysis of films, students examine three-act story structure, plot and turning points, theme, sequences, multi-plots, and internal scene structure. Analysis also covers the role and journey of the protagonist (spine), the creation of empathy, active and passive characters, supporting characters, “string characters,” character arcs, the role of the antagonist, use of conflict (objective vs. subjective) and obstacles, and action vs. activity. The course explores film as a temporal-spatial art by examining pacing, rhythm, accelerating action, the handling of time and space, montage, transitions, sound, and music. Dialogue, dramatic use of props and costumes, staging, and the creation of atmosphere are also covered. Students are expected to recognize these dramatic and narrative elements and to present a cogent analysis of a film selected for a mid-term exam and final paper.
Additionally, under the umbrella of “Script Analysis,” students attend three “Topics in Production” classes: editing, acting and film language, participate in the production track pitch and are expected to take one crew position on production track shoots. These activities are designed to heighten awareness of the collaborative nature of filmmaking, including the role of the screenwriter, and of the many interactive layers of meaning woven together into a story that is meant to be told in film language. Additional acting classes are used to prepare for final presentations of scenes from early drafts of their feature screenplays. These scenes typically take the form of a staged reading with actors, “projected” at the time of final screenings. Contact hours: 45. Recommended credit: 3 semester / 4.5 quarter hours.
SCWR 3002 PRFS
In this writing workshop, student screenwriters embark on the creation and writing of the first draft of a feature-length screenplay. Following a strict writing plan that is based upon the inherent structural demands of feature-length dramatic scriptwriting, each student submits five installments of their project to be read and reviewed in class. With theoretical lectures on related topics and through the analysis of submitted work, the instructor also introduces students to various components of the craft and process of screenwriting, and proposes pragmatic approaches that have been employed by experienced writers. Additionally, as a collective of young writers supporting each other in the pursuit of learning how to create effective and functioning screenplays, all students are expected to actively participate in the critical and constructive analysis of the work of their peers. Contact hours: 60. Credit: 4 semester/6 quarter hours.
Production and Screenwriting Tracks
FAMU Elective Courses
The following is a sample list of CIEE-approved regular elective courses offered in English through FAMU. Production and Screenwriting track students must choose two of the following courses. The following courses are 3 semester/4.5 quarter credit hours and 45 contact hours, or 1.5 semester / 2.25 quarter credit hours and 24 contact hours, unless otherwise indicated. Final course lists are given to students during orientation.
This is a practical course for directors, producers, scriptwriters, cinematographers, or editors to understand the actor’s craft. Students proceed from exercises and various improvisations to a given text, a dialogue, and a monologue. At the end of each semester the student performs a piece in front of the camera and assesses the work on video. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
This course aims to cover essentials of acting theories—some historical, but mostly contemporary—in order to help film directors communicate effectively with actors from varying pedagogical and cultural backgrounds.Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours..
Central European Cinema within the Context of the World Cinema
This course provides a general overview of the primary trends, aesthetics, protagonists, and history of post-war Central Europe. Filmmaking from Hungary, Poland, Romania, the Czech Republic, Slovakia, and Yugoslavia will be examined. Contact hours: 45. Credit: 3 semester / 4.5 quarter hours.
This course gives an explanation of the cinematographer’s craft in the fields of exponometry, processing, and other postproduction technologies. It analyzes the use of various exponometric (photometric) methods and their effectiveness on the aesthetic of cinematographic image. It is a lecture/seminar format and students are given theoretical and practical assignments. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours..
Circulating within the Modern Cinematic Image
This inter-disciplinary seminar offered in Fall semesters is modeled on the epistemological notion of a U.S.-American informed postmodernity/globalization, which for ill or for better informs the conditions of possibility of our contemporaneity, and which by extension for us as such produces our individual-class-misson that pedagogically focuses a select band of becoming authenticallyglobal films from the following 20th century world directors: Sergei Eisenstein, Carl Theodor Dreyer, D.W. Griffith, Buster Keaton, Fritz Lang, Friedrich Murnau, Dziga Vertov, and Orson Welles with special consideration given to those cinematic moments that teach and that train us in new non-dominatory viewing strategies, in new creative ways of circulating (our term for moving). The role of silence and of the unconscious in film culture is given special coverage. Clips and special features from the DVDs are also shown. Contact hours: 45. Credit: 3 semester / 4.5 quarter hours.
Circulating within the Post-Modern Cinematic Image
This seminar offered in Spring semesters is a select examination of eight major films in pre-1950 Euro-American film with special emphasis given to those cinematic moments that might teach and train us in new viewing strategies, in new ways of circulating, and in new ways of engaging with the cinematic image. Film criticism and film philosophy from Bersani-Dutoit and Gilles Deleuze, inter alia, will be engaged toward this end. All films are either in English or have English inter-titles or sub-titles. Clips and special features from the DVDs will also be shown. Contact hours: 45. Credit: 3 semester / 4.5 quarter hours.
Film Adaptations on Literary Sources
The literary sources and the films made after them are to be compared with the goal of identifying and studying different ways of adapting to the screen a literary source: "true“ adaptations, ”free” adaptations, using some ideas, symbols or metaphors from a novel or story for making a film etc. This could not only enrich the students´ acknowledge about the history of the world Literature and Cinema, but also help and inspire them for their future career of filmmakers. A special attention will be dedicated to short films adapting literary sources. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Film Style and Form
The course will focus on the film style and form (Fall: mise-en-scène, cinematography, editing; Spring: sound, narration) partly based on the readings of the book Film Art: An Introduction by David Bordwell and Kritstin Thompson. In course students and teachers will discuss the means of film style and form and how they present themselves in a dozen of great films from various epochs and countries. Disclosure of possible meanings and interpretation of them is the aim of the course. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Filming the Unfilmable
This course offered in Fall semesters is focused on exploring and developing the dramatic and creative writing techniques plus the critical thought required to enable screenwriters to adapt a range of source material into a format suitable for screen production. The student will develop a screenplay suitable for production and filming in the following semester. The first half of the course will focus on creative techniques and in-roads for developing style and content. The second half will focus on script production, subject choices and structure. Students are expected to view/read the range of material suggested plus bring awareness to the group of material from their own cultures and cinematic heritage. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
History of Animation
History of Animation is a subject for more than 1 semester only. That´s why this one semester subject at FAMU is some kind of introduction into history of animation – the rich Czech and foreign panorama of Animated Films. Students should be acquainted not just with history of animation from early years but also with differences not between America and Europe only but among individual Masters of animation in different national cinematographies till 90ties of the 20th Century. The aim is to understand roots of this special art and serious historical tasks it had in the past in different parts of the World. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Introduction to Intl Film/TV Production
This course focuses on the work and art of a film and television producer, the craft of the person who serves as a) highly skilled and organized project manager, b) counterpart and/ or partner to director and screenwriter, and on occasion, c) creative author of a project. The key areas of information for a producer (and this class) are marketing, financing, budgeting, legal, and business affairs in the stages of project development, pre-production, production, post-production, and distribution. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Nature and City in the Cinema
The aim of the course is to discuss the setting of the various films – variety of the natural setting, garden, countryside and the city – and to explain how applying the studies from the various subjects (architecture, environmentalism, philosophy, etc.) might be helpful for understanding the role that the particular setting fulfills. Students will discuss the films from the different epochs and different regions and will examine the significance of city/country/nature that those films present. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
The practice of still-photography and cinematography is becoming more a branch of applied science and less an empirical craft; therefore, it is increasingly necessary to base the practice on a thorough understanding of photographic materials and processes rather than on rule-of-thumb methods. In a sense, the craft has been simplified by advances in the production of more satisfactory new materials and equipment and the development of new and better methods, but the very diversity of these materials and the tremendously increased scope of modern photography and cinematography combine to demand a more thorough knowledge of fundamentals than was formerly necessary. Central to the course is how well students can apply the material presented in practice, tackle practical problems connected with measurement of light and set the correct exposure. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
This course explores how photographs are constructed, analyzing the use of various aesthetic and design elements and the effects of these on the viewer. The format is lecture/ seminar, and students are given practical as well as theoretical assignments. Slide and video presentations support the content of the lectures. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Script Analysis 1, 2
This course analyzes feature length films from a practical dramaturgical perspective, demonstrating dramatic structures, narrative techniques, and genres, while examining the process and craft of screenwriting.Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
Short Film Practical Analysis: Directing 1
This course provides students with an in-depth perspective to many forms of directing: from directing newscasts to directing feature films. This course explores directing methods, the director’s tools, and his/her relationship with the actors and crew from a variety of perspectives including practical, theoretical, psychological, and physiological points of view. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.
The Realm of Montage
A film is expressed through emotion, not thought, an emotion is created in film editing. An editing sequence demonstrates not only the editor's art but reflects the director's thought, philosophy and ethics and particular film language. This will be discussed further through analyses of excerpts from known and lesser-known films. Classes are made up of example screenings, their analyses including a summary of necessary theory and history information, as well as from guided discussions. The aim is to inspire students' analytical thought over the creating of emotion and its significance in film as well as to enable them to test their observations in practice. Students at the last class screen two variations of one sequence (shot and edited as assigned), which demonstrates their understanding of assembly potential. Contact hours: 24. Credit: 1.5 semester / 2.25 quarter hours.