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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA 356"
COURSE NAME: "Editing Genre"
SEMESTER & YEAR: Fall 2015
SYLLABUS

INSTRUCTOR: Giulia Amati
EMAIL: [email protected]
 HOURS: M 3:30PM-6:15PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: COM 230
OFFICE HOURS: by appointment
COURSE DESCRIPTION:
This course will provide students with a practical overview of the film editing process, giving them the tools to be able to utilize editing software effectively. It will also give students an understanding of the stylistic characteristics of film genres and genre production and a practical knowledge of the different editing techniques used these. Students starting the course should have a fundamental understanding of the basics of film production as well as a basic knowledge of digital editing software such as the Final Cut Pro Editing suite.dd
SUMMARY OF COURSE CONTENT:

This course will provide students with a practical overview of the film editing process, giving them the tools to be able to utilize editing software effectively. It will also give students an understanding of the stylistic characteristics of the five principal genres and a practical knowledge of the different editing techniques used in these genres.

 

Students starting the course should have a fundamental understanding of the basics of film production as well as a basic knowledge of the Final Cut Pro Editing system. 
LEARNING OUTCOMES:

Upon completion of the course students will have:

 

A comprehensive understanding of each stage of the editing process on the Final Cut Pro system.

 

The tools and knowledge to be able to structure sequences so as to effectively serve story.

 

An in depth understanding of the visual dynamics and edit techniques utilized in the five principal genres.

 

The confidence and ability to be able to express themselves as filmmakers within the parameters of these five given genres.

 

A completed two-minute project in a genre of their choice. 
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
In the Blink of an Eye Walter MurchSilman James Press978-0-7357-1426-7  
The Visual StoryBruce BlockFocal Press9780240807799  
The Conversations: Walter Murch and the Art of Film EditingMIchael OndaatjeBloomsbury9780375709821  

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and class participation 20%
Written Test 15%
Storyboarding Exercise 15%
Genre Exercise 20%
Final Project  30%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cours
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY



You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Topics and Course Schedule:

 

Week 1:

Film editing: an introduction

The basic principles of film editing.

Understanding the intentionality of the filmmaker.

Practical exercise: The fundamental elements need to construct a scene.

Basic visuals rules: crossing the line.

The importance of storyboarding. Exercise.

Week 2:

Editing and timing

Different camera angles, photography and set.

Analysing the script, the storyboard, the shooting list.







Analysing the editing structure behind some famous movies.

Exercise n.1: Analysing a one page script from "The Godfather", creating the storyboard, the shot list, filming and capturing the footage.

Week 3:

Intentionality

An in-depth analysis of the value of timing in editing.

Working on the director intentionality.







Exercise n.2: Filming the same scene from "the Godfather" focusing on the filmmaker intentionality.

Editing exercise n.2:







Selecting the right codec.

Organising and labelling your footage. 

Selecting takes. 

The rough assembly: your first building block. 

Week 4:

Genre study: thriller

Screening and analysis of exercise n.2







Introducing final project: Two minute genre exercise on a platform of the

student’s choice.

Case study: Alfred Hitchcock “Birds”.

How to engineer tension and thrills in the edit. 

The importance of point of view in structuring a thriller sequence. 

How to position the threat within a sequence.

Exercise n.3: Filming and editing a thriller scene.

Week 5:

Genre Workshop: Horror

An in-depth analysis of the principal stylistic characteristics of the genre. 

Scene study: Hideo Nakata’s ‘Dark Water’. 

How to effectively build dread and tension in the edit. 

How to engineer shock. 

The importance of music and soundscape in the horror genre.

Exercise: filming and editing a horror scene

Week 6:

Genre Workshop: the Social-Realist Mode

An in-depth analysis of the principal stylistic characteristics of the mode. 

Scene study: Vittorio De Sica ‘Bicycle Thieves

How to engineer empathy and concern for characters through the edit. 

Imitation of life: the documentary aesthetic of Socio Realist genre. 

Social milieu. How to emphasize it through the edit. 

Serving the social theme.  Creating anger and indignation in the viewer.

Exercise: filming and editing a socio-realistic scene

Week 7:

Genre Workshop: Comedy

An in-depth analysis of the principal stylistic characteristics of the genre. 

Scene study: Woody Allen’s ‘Annie hall’

How to engineer laughter through the edit. 

The structure of a joke. Beats, comic timing and the pay off.  

The importance of the metaphorical relationship in comedy. 

Character comedy versus Gag comedy.

Exercise: Filming and editing a comedy scene

Week 8:

Genre Workshop: Science Fiction

And in-depth analysis of the principal characteristics of the genre. 

Scene Study: ‘2001. A Space Odyssey’ Stanley Kubrick. 

How to engineer wonder and sense of otherworldliness though the edit. 

Understanding the metaphor at the heart of Science fiction. 

What are stories about future saying about the present?

An analysis of the importance of soundscape and music in Science Fiction.

Case study: ‘Blade Runner’. 

Exercise: editing stock footage of different movie genres.

Week 9:

Editing

Exercise: editing stock footage of different movie genres.

Screening the students final cut, analysis and feedback.

Week 10:

Getting ready for Final Project

Reviewing students scripts, storyboards, shooting lists for Final Project.

Group discussion on Final Project.

The importance of photography, location scouting, music, actors, script, costumes.

Week 11:







Working on Final Project

One on one interaction with students following the progress of Final Projects.

Written exercises on genre. 

Week 12:







Finishing Final Project

Editing Final Project.

Week 13:

Course revision and overview.

Editing Final Project.

Rendering and locking the picture cut. 

An overview of Premiere’s effects. 

Sound mixing. 

Color correction. 

Exporting on the right codec. 

Uploading films to various platforms: Vimeo, Youtube.

Week 14:

Final Project: Presentations

Screenings of Final Projects. 

Analysis and feedback.