This course will introduce students to the foundational principles and techniques of screenwriting, taking into account the practical considerations of film production. Questions of thematic cohesiveness, plot construction, logical cause and effect, character behavior, dialogue, genre consistency and pace will be explored as students gain confidence in the form by completing a number of short screenplays. The course will illustrate and analyze the power of visual storytelling to communicate a story to an audience, and will guide students to create texts that serve as "blueprints" for emotionally powerful and immersive visual experiences.

How can screenwriters prepare for the evolving challenges of our global media world? What types of content, as well as form, will emerging technologies make possible? Do fields like neuroscience help us understand the universal principals behind screenwriting and do tech advances that alter the distance between audience and creator, man and machine, also influence content of our stories? This class will use fairytales, films, games and new media to illustrate universal script principles while creating a rich interdisciplinary lens to explore the innovative intersection of narrative screenwriting, science and technology.

This workshop class will introduce students to the fundamental elements of developing and writing a TV series in the current "golden age of television." Students will watch television pilots, read pilot episodes and engage in in-depth discussions about story, series engine, season arcs, character, structure, tone and dialogue, which will be applied to their work. Each student will formulate and pitch an original series idea, write and rewrite a detailed treatment of the concept, and complete the first 30 pages of the pilot episode by end of semester. Students will read all drafts of each other's work and give verbal feedback every week.

Whether referred to as site-specific, site-responsive, or site-engaged, site is understood in interlocking and distinct ways in visual art, dance and across performance. Through the bisecting lenses of dance and visual art, this course will examine site-based work in land art, environmental and ecological art, urban intervention, community engaged practices, and public art. Art-making and performance practices that take site into account are inherently collaborative in their negotiation between place and person. Students will engage in movement practices and material explorations as a form of research into sites on and off campus.

The ability to connect knowledge, methods, and people across the arts and sciences is a critical 21st-century skill needed to tackle complex challenges. However, education and knowledge production largely occurs within domains, departments, and disciplines. Specialization is valuable in the pursuit of deeper understanding, but is also limited. We have and continue to accrue more and more specialized data and knowledge. Yet we struggle to make sense of it and to use it. This course is about developing the urgent skills of connecting, systems thinking, and designing innovations informed by a broad understanding of human experiences.

How do films structure values and desires? What is propaganda? Is there a politics of narration? These and other deeply contemporary questions of media history and theory will be explored through an interdisciplinary interrogation of key works of expressionist, documentary, proletarian, avant-garde, queer, horror, and paranoid-thriller cinema (both silent and sound) produced in Germany during the Weimar Republic (1918-1933). Films and texts will be subjected to close readings, situated in their socio-political, media-historical and cultural context, and examined in light of the reigning debates in film criticism and aesthetics.

This course, conducted in English, is a study of Fascism through selected films from World War II to the present. Topics include: the concept of Fascist normality; Racial Laws; the role of women and homosexuals; colonialism; and the opposition of the intellectual left. Films include: Bertolucci's "The Conformist", Fellini's "Amarcord", Rossellini's "Rome Open City", Cavani's "Night Porter", and Wertmüller's "Seven Beauties". The approach is interdisciplinary and combines the analysis of historical themes with an in-depth cinematic reading of the films.

An exploration of ritual and ceremony as creative, interdisciplinary spaces imbued with intention and connected to personal and cultural histories. A broadening and deepening of knowledge around historical and contemporary ritual, ceremonial, and community-building practices of queer and trans artist communities from around the world, with a deeper focus on the extraordinary history of the queer trans shamans of early 20th century Korea.

An introduction to the art and craft of lighting design for the stage and an exploration of light as a medium for expression. Students will develop an ability to observe lighting in the world and on the stage; to learn to make lighting choices based on text, space, research, and their own responses; to practice being creative, responsive and communicative under pressure and in company; to prepare well to create under pressure using the designer's visual toolbox; and to play well with others-working creatively and communicating with directors, writers, performers, fellow designers, the crew and others.

The great thing about drawing is you can do it anywhere! This course approaches drawing as a way of thinking and seeing. We'll introduce basic techniques while also encouraging experimentation, with a focus on both drawing from life and drawing as an expressive act. Students will be introduced to the basics of line, shading, proportion, composition, texture and gesture. You'll also maintain a drawing journal, and use it as a regular space for observation and personal expression. Through exposure to a variety of mediums and techniques, you'll gain the skills and confidence necessary to develop an individual final project of your choosing.

An introduction to the materials and methods of painting, addressing form and light, color and its interaction, composition, scale, texture and gesture. Students will experiment with subject matter including still life, landscape, architecture, self-portraiture and abstraction, while painting from a variety of sources: life, sketches, maquettes, collages, photographs and imagination. Students will progressively develop personal imagery that will inform an individual final project. Princeton will provide all materials for the painting class.

In this introductory studio course, participants explore the world wide web as an opportunity for self-publishing. We'll understand the web's history and original design as a decentralized system for publishing on one's own terms. But it's easy to forget this, as today the corporate and platformed web captures and sells our data and attention. Through hands-on exercises and projects, this course aims to demystify the web, removing barriers to basic web coding and publishing by focusing on the foundational skills in making websites with HTML and CSS. We'll remember what makes a web a web: links made by humans.

An introduction to the processes of photography through a series of problems directed toward lens projection, the handling of light-sensitive material, and camera operation. The processes will begin with cyanotypes and culminate with large format film exposure and processing, and printing. These processes trace the origins of photography. Final projects will examine new potentials in photographic expression including images that hybridize analog and digital interfaces. The goal of this course is to make art, and by doing so, understand the necessity for the invention of photography.

This studio course introduces students to the aesthetic and theoretical implications of digital photography. Student emphasis is on mastering digital equipment and techniques, managing print quality, and generally becoming familiar with all aspects of the digital workspace. Popular media, found photographs, and the "life" of digital images will also be investigated. Slide lectures, readings and class discussions of student work in critique format will augment visual skills with critical and conceptual understandings of contemporary photography.

The practice of graphic design relies on the existence of networks for distributing multiple copies of identical things. Students in this course will consider the ways in which a graphic design object's characteristics are affected by its ability to be copied and shared, and by the environment in which it is intended to circulate. Through hands-on design projects, readings, and discussions, students will delve into different material forms of distribution - the printed newspaper, social network software, the community radio station, the PDF.

This studio production class will engage in a variety of timed-based composition, visualization, and storytelling techniques. Students will learn foundational methods of 2D animation, acquire a working knowledge of digital animation software and technology, and explore the connective space between sound, image, and motion possible in animated film. Screenings, discussions, and critiques will relate student work to the history and practice of animation and to other media, art, and design forms.

This class will be a studio introduction to sculpture, with particular emphasis on the study of how form, space, and a wide variety of materials and processes influence the visual properties of sculpture and the making of meaning. A balance of indoor, outdoor, and/or transient assignments will lead to the development of an understanding of contemporary sculpture, as well as basic technical facility with found objects, common materials, natural earthworks, ergonomics, and three-dimensional design.

This course is an introduction to the fascinating history of collage. Students study techniques employed in the iconography of China and Medieval Europe, and expand to its historical resurgence in the form of keepsakes and scrapbooks. Students evaluate the relationship of collage to historical advancements in photography, assemblage, and décollage. Students discover collage's relationship and technical developments to the radical histories of trauma, disruption, and desire by studying contemporary artists. Projects are structured around mixed media drawing, printmaking, painting, along with found object sculpture.

The "truths" found in traditional archives are incomplete: books and mainstream film productions are often biased; silences and omissions enter every level of archive-making and historical production. Students will engage in the critical analysis of the historical relationship between race, diaspora, and citizenship as they appear in film, media, and cultural productions. Building on original stories and artistic materials presented in class, students will create their own project (short film, podcast, story map). The goal is to make the archive a tool for teaching, learning and an artistic piece for the larger community.

An introduction to narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques. This course teaches the basic tools and techniques for storytelling with digital media by providing technical instruction in camera operation, nonlinear editing, and sound design paired with the conceptual frameworks of shot design, visual composition, film grammar and cinema syntax.

In a digital world, this course promotes hand-made printed images. Students will examine two kinds of printmaking: relief and intaglio. To make images that matter, students will learn to cut blocks, fashion stencils, plan and execute color layers, etch and drypoint copper plates, and understand the range of mark making possibilities available in printmaking. Students are encouraged to draw regularly to cultivate themes and content, and to develop a basic knowledge of print in contemporary art. Woodblocks have been around since the 8th century; etchings for 500 years. Students will make something completely new from something old.

This course will examine photography's evolving technologies. Students will work with analogue black and white and color film which they will scan and print their digitally in order to broaden their photographic strategies, technical skills, and their understanding of the medium. A range of tools will be introduced, including camera operation, film scanning, Photoshop image management tools and inkjet printing. The course will require independent and collaborative assignments with critiques augmented by readings, visiting photographers, discussion, and potential field trips.

Students will learn techniques of wildlife surveillance photography using remote cameras to photograph animal populations on and around Princeton's campus. The photographs and apparatus will be considered as both ecological research and works of art. As such, the methods and results will be critically examined for population index studies as well as philosophical ramifications. A final exhibition of the images will highlight the secret wilderness of the area while posing questions about our relationship to non-human animals and the narrative ramifications of the gaze of surveillance photography.

This course is designed for students who are interested in learning the fundamentals of working with clay. A wide variety of hand-building will be taught, enabling students to make utilitarian vessels as well as sculptural forms. Students will learn about glazing and colored engobe application methods and how to operate electric and gas kilns. Studio work will be complemented by readings, field trips, and slide presentations.

There are unlimited ways in which to record and portray the world around us. In this class, we will analyze classic and contemporary strategies for making a documentary film, and see if we can invent some new ones of our own. It's important to know what came before, and as important to learn about the present by being a part of creating it. The emphasis is on making. A wide range of films will be screened, but the course is mainly dedicated to having each student shoot and edit a short (10-20 minute) documentary. Students will work in pairs on their exercises and final films.

This class will focus on how contemporary painting considers the human figure. Portraits without people, the selfie, imagined figures, forgotten figures, fragmented figures, figures from our lives, abstract figures, cyborgs, crowds, and composite figures will be considered within a structure of exploratory painterly approaches. This class will NOT focus on "how to" paint the figure. No experience painting the figure is necessary.

This course focuses on the development of various approaches in observational drawing from the human figure. These methods include using line, value, perspective, scale, and proportion. Emphasis is placed on perceptual drawing from life through live models and in the world at large. Throughout the semester students will work in a range of media as the elements of drawing are investigated through the study of anatomy, composition, and drawing technique. Historical and contemporary conventions of representing the figure will be recurrent topics.

This course is an advanced black and white analog class that will give students an opportunity to sharpen darkroom and fine printing skills. Students will use medium and large format cameras with the goal of developing their growing body of work. Advanced techniques such as split contrast filtering, selenium toning, and large-scale printing will be covered. The course is designed for students who have analog experience, and who seek to refine their knowledge of exposure, camera operation, printing, and chemistry. The class will include sessions with visiting artist Rory Mulligan.

This studio course builds on the skills and concepts of the 200-level Graphic Design classes. VIS 415 is structured around one semester-length assignment which connects graphic design to the design of software interfaces. The single project allows an individual in-depth investigation of a broader class assignment and will leverage the online setting with students working together to refine their individual projects through a mix of critique and user testing. Studio work is supplemented by guests, readings, and lectures. The course will explore information design and visual problem solving specifically for electronic media.

This class concentrates on the editing process. Students will re-edit samples from narrative and documentary films and analyze the results. We will also critique ongoing edits of your own thesis films. Guest speakers will come to talk about rough-and fine-cut editing, sound design, and sound mixing. Editing is about shaping the story through image, dialogue, additional sound and music. No matter how well (or badly) a film is directed and shot, its final result depends profoundly on the artfulness of its editing. This course will give you a better understanding of how many ways there are to approach and solve the puzzle of editing a film.

This sculpture class will engage contemporary approaches to the figure with an emphasis on the figure as body. With the advent of postmodernism, the singular forms of classical and modern sculpture have fractured into composite, disjointed figures-even cyborgs-in keeping with the era of the "post human." Students will take a multivalent approach to the historical precedents from which current representations have emerged and explore the limits of what constitutes the body and figuration in contemporary sculpture through the process of class discussions and making sculpture.

"Chromapolitics" challenges us to consider color as neither arbitrary nor neutral, but instead deeply enmeshed in powerful social and cultural dynamics. Structured around creative and collaborative student responses to the work of Black, Latinx and Indigenous artists and thinkers this seminar asks students to reexamine their own use and understanding of color by focusing on the resonances and intensities of the color black and adjacent dark tonalities such as browns, blues, and violets, as well as how shadow, night, and negative space register both in the work of artists and theorists of visual culture and in their experience as makers.