Film and Animation Bachelor of Fine Arts Degree
A film and animation degree focused on production, screenwriting, 2D animation, 3D animation, and stop motion animation.
Overview for Film and Animation BFA
Why Study Film and Animation at RIT
Focused Degree Options: Choose one of two options: animation or production.
Get Ahead in the Summer: Enjoy the School of Film and Animation’s limited selection of courses during the summer term.
Study in LA: Spend a semester in Los Angeles with Study Away: LA, RIT's semester in LA where you can intern at top studios and entertainment companies.
The film and animation degree develops your production skills and promotes film and animation as creative media. Utilizing research, critical thinking, creativity, and a range of problem-solving principles, you will address complex motion imaging workflow issues within the constraints of time, space, budget, and technology.
RIT’s Film and Animation BFA
The film and animation degree prepares you to produce, creatively and practically, your own independent work and/or fulfill professional production responsibilities in any medium suitable to your interests and abilities.
Through lectures and laboratories, you will develop individual skills in moving-image communications and learn the aesthetic principles governing art. Technology and technique are taught as a means to achieve a creative goal.
Film and Animation BFA Options:
As a film major, you have two options to choose from to pursue your craft:
- Animation option – This animation BFA on 2D, 3D, and stop motion animation spanning from conception to application to final production of short films.
- Production option – This focuses on production through visual and sound artistry utilizing hands-on experience with camera, editing, and sound equipment.
Production work occurs throughout every semester, with students producing several short films in either live-action or animation by working through all phases of production, from scripting, production planning, and budgeting to shooting, designing, animating, editing, and sound design. Students further their learning of visual and sound artistry through hands-on experience with camera and sound equipment. Film, video, and animation projects are designed by individual students. A wide variety of styles and intentions is expressed in the department’s work.
The School of Film and Animation also offers a limited selection of courses ranging from beginning courses to those requiring a substantial background during the summer term.
Network and build lasting connections with several professional organizations, including:
- Animation World Network
- College Art Association
- Rochester Audio Visual Association
- Society of Motion Picture and Television Engineers
- University Film and Video Association
- Siggraph
- BEA
Hands-On Experience to Gain Real World Skills
Study Away: LA gives Film bachelor’s degree students the opportunity to spend a semester in Los Angeles learning from industry professionals. The bulk of your time will be spent doing internships, but you'll also complete two courses that will complement your study-away experience.
Interested in a Career in Game Arts?
We’ve got you covered. The film and animation major allows you to explore your creative interests related to video games. You'll have endless opportunities to collaborate with developers and fellow artists on game and digital media projects. Film and animation alumni have gone on to establish successful careers as game artists. Learn how you can use the film and animation major to launch a career in game arts.
Furthering Your Education in Film and Animation
Combined Accelerated Bachelor's/Master's Degree
Today’s careers require advanced degrees grounded in real-world experience. RIT’s Combined Accelerated Bachelor’s/Master’s Degrees enable you to earn both a bachelor’s and a master’s degree in as little as five years of study, all while gaining the valuable hands-on experience that comes from co-ops, internships, research, study abroad, and more.
+1 MBA: Students who enroll in a qualifying undergraduate degree have the opportunity to add an MBA to their bachelor’s degree after their first year of study, depending on their program. Learn how the +1 MBA can accelerate your learning and position you for success.
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Careers and Experiential Learning
Typical Job Titles
| 3D Modeling and Character Designer | Art Director | Camera Operator |
| CG Painter | CG Lighting PD/TD | Character Animator |
| Digital Paint Artist | Director | Editor |
| Effects Animator | Layout Artist | Key Grip |
| Post-production | Producer | Production Manager |
| Production Sound Mixer | Screenwriter | Supervising Sound Editor |
| Visual Effects Supervisor | Writer | Animator |
| Broadcast Technician | Gaffer | Production Runner |
| Visual Designer |
Industries
Cooperative Education and Internships
What’s different about an RIT education? It’s the career experience you gain by completing cooperative education and internships with top companies in every single industry. You’ll earn more than a degree. You’ll gain real-world career experience that sets you apart. It’s exposure–early and often–to a variety of professional work environments, career paths, and industries.
Co-ops and internships take your knowledge and turn it into know-how. Co-op in the College of Art and Design provides hands-on experience that enables you to apply your artistic capabilities in dynamic professional settings while you make valuable connections between classwork and real-world applications.
Cooperative education, internships, and other experiential learning opportunities are strongly encouraged for students in the BFA in film and animation.
Creative Industry Days
Connect with Design Industry Leaders
RIT’s Office of Career Services and Cooperative Education hosts Creative Industry Days, which connects students majoring in art, design, film and animation, photography, and select computing majors with companies, organizations, creative agencies, design firms, and more. Creative Industry Days are a series of events that allow you to network with company representatives and interview directly for open co-op and full-time employment positions.
Featured Work and Profiles
-
RIT, NTID team up to create pioneering film
Students Anna McClanahan (BFA) and Gabriel Ponte-Fleary (MFA) brought together the deaf/hard-of-hearing and hearing communities in creating their finalist film for a Coca-Cola-sponsored program.
Read More about RIT, NTID team up to create pioneering film -
Video Game Development
“That Damn Goat!” is a party game where chaos reigns, frustrations mount and everything you think you know about your situation is instantly thrown out of whack by a head-butting goat with magical...
Read More about Video Game Development -
Virtual Reality Film
In making a virtual reality film for their thesis, Emily Haldeman and Tim Stringer — 2019 alumni of the Animation option in the Film and Animation BFA — used...
Read More about Virtual Reality Film -
Sizzle Reel
A collection of student work from Rochester Institute of Technology's School of Film and Animation, which offers a BFA and MFA in Film and Animation and a BS in Motion Picture Science.
Read More about Sizzle Reel -
Stop Motion Animation That Packs a Visual Punch
Friendships formed at RIT helped lay the foundation for Apartment D, an alumni-owned indie stop-motion animation studio. By leaning into their authentic approach to the craft, film and animation...
Read More about Stop Motion Animation That Packs a Visual Punch -
Experience Film and Animation in Los Angeles
For students interested in a career in the entertainment industry, Los Angeles is the best place to learn. RIT in LA is a semester-long study away program that gives School of Film and Animation...
Read More about Experience Film and Animation in Los Angeles
Curriculum for 2024-2025 for Film and Animation BFA
Current Students: See Curriculum Requirements
Film and Animation (animation option), BFA degree, typical course sequence
| Course | Sem. Cr. Hrs. | |
|---|---|---|
| First Year | ||
| ARTH-1## | Any 100 Level ARTH Course (General Education – Global Perspective) |
3 |
| FDTN-111 | Drawing I |
3 |
This course is an introduction to the visualization of form, thought, and expression through the drawing process and is the first of two sequential courses that are the foundation of the drawing curriculum in the College of Art and Design. Concepts are introduced by lectures, discussions, and demonstrations which are designed to provide a broad introductory experience. Students will experiment with a wide variety of media, tools, techniques and subjects to develop drawing and problem-solving skills related to form and composition. The focus of the course is to provide awareness of the full range of ways in which drawing is used as a tool for both self-expression and communication. **Fee: A materials fee is required for this course, and an additional course fee applied via student account** Studio 6 (Fall or Spring). | ||
| SOFA-101 | Production I |
3 |
Filmmaking is presented as a means of interpretation and expression. This course combines technical information in motion picture exposure and editing with a theoretical and practical approach to motion picture continuity through non-synchronous film production and editing. The course also will provide an aesthetic understanding and essential vocabulary of film production, script, and budget planning. In this course, students will have the opportunity to work in groups to visual storytelling and editing techniques to experiment with different styles. (This class is restricted to 1st and 2nd year students in FILMAN-BFA or DIGCIME-BS.) Lecture 2, Studio 3 (Fall or Spring). | ||
| SOFA-107 | Principles of Animation |
3 |
This course will introduce the concepts and mechanics of movement for animation, focusing on, but not limited to, character based movement. Animation principles will be introduced and applied using hand-drawn methods, which will serve as the foundation for their application in any desired medium. Weekly exercises will be recorded using standard animation software, and will be reviewed, discussed and open to group critique. (Prerequisite: SOFA-121 or equivalent course.) Lecture 3 (Spring). | ||
| SOFA-121 | Animation I (General Education – Artistic Perspective) |
3 |
This class will introduce students to the gamut of animation thinking and making through classroom instruction and hands-on practical experience. Lecture and readings will emphasize the process, theory and practice of animated filmmaking with extensive film screenings to illustrate each technique and related aesthetics. Hands-on supervised studio sessions will guide students to an intuitive understanding of the process of producing animation and students will use this understanding to analyze various animated works. Each student will develop their personal vision through assigned projects utilizing the material discussed in class. **This course has a facilities fee for Non-SOFA students.** Lab 3, Lecture 2 (Fall, Spring). | ||
| SOFA-122 | Fundamentals of Computers and Imaging Technology |
3 |
This course provides an introductory overview to computer systems and to principles associated with motion picture technologies. Topics covered include computer history, basics in computer architecture basics, operating systems, HTML and networking. Human vision and perception, image capture and display technologies (both analog and digital), digital image processing and post-production equipment and software are also covered. The course focuses on exposing the students to basic principles necessary to proceed with subsequent courses with production or animation focus. (This class is restricted to 1st and 2nd year students in FILMAN-BFA.) Lab 3, Lecture 2 (Fall, Spring). | ||
| SOFA-131 | Film History and Theory I |
3 |
Film History and Theory I is a motion picture examination and readings course. It will give media production students the opportunity to trace the development of many of the techniques and forms in what now constitute traditional and expanded definitions of cinema. The course is taught from the perspective of a practicing filmmaker involved in the critical exploration of film language as well as its historical and cultural dimensions. In addition to lectures, the course includes weekly screenings of seminal works from the history of cinema. Screenings support class lectures. (This class is restricted to 1st and 2nd year students in FILMAN-BFA or DIGCIME-BS.) Lec/Lab 5 (Fall). | ||
| YOPS-10 | RIT 365: RIT Connections |
0 |
RIT 365 students participate in experiential learning opportunities designed to launch them into their career at RIT, support them in making multiple and varied connections across the university, and immerse them in processes of competency development. Students will plan for and reflect on their first-year experiences, receive feedback, and develop a personal plan for future action in order to develop foundational self-awareness and recognize broad-based professional competencies. (This class is restricted to incoming 1st year or global campus students.) Lecture 1 (Fall, Spring). | ||
| Choose one of the following: | 3 |
|
| FDTN-121 | 2D Design I |
|
This course is an introduction to the basic elements and principles of two-dimensional design and is foundational to the College of Art and Design curriculum. The focus of this course is the development of visual and verbal vocabularies as a means of exploring and understanding two-dimensional design. Students will engage with a wide variety of media, tools, and techniques to develop skills while delving into the theoretical and experimentational processes of contemporary art and design. The exploration of historical and cultural themes and concepts intertwined with aspects of personal interpretation and experience will be included in the curriculum. **Fee: A materials fee is required for this course, and an additional course fee applied via student account** Studio 6 (Fall or Spring). | ||
| FDTN-131 | 3D Design I |
|
This course presents a progressive study in terminology, visual principles, exploration, concept generation, process, and techniques of three-dimensional design and is foundational to the College of Art and Design curriculum. Using hands-on problem solving, student will develop an informed understanding of the three-dimensional form and space with an emphasis on the elements and principles of visual design and their function as the building blocks and guidelines for ordering a three-dimensional composition. A heightened awareness of form and space will be developed through lecture, assigned projects, and critiques. Students will also develop a personal awareness of problem seeking and solving, experimentation and critical analysis. **Fee: A materials fee is required for this course, and an additional course fee applied via student account** Studio 6 (Fall or Spring). | ||
| Choose one of the following: | 3 |
|
| SOFA-108 | Drawing for Animation (2D) |
|
This course focuses on the mechanics of motion as applied to animated characters, both human and non-human. Working directly from a live model, costumed and nude, and also employing visualization techniques, students will apply figure-drawing skills along with gesture drawing, focusing on the correct representation of weight, energy and force in sequential poses. Specific attention is paid to improving drawing skills in order to create stronger storytelling poses for animated properties. A variety of drawn animation examples will be screened in class. (Prerequisite: SOFA-121 or equivalent course.
Co-requisite: SOFA-107 or equivalent course.) Studio 6 (Spring). | ||
| SOFA-209 | Introduction to 3D Modeling (3D) |
|
Students create models for animation in three-dimensional software. Students learn various modeling, texturing, and lighting techniques that apply to animation and digital cinematography. Students' model, texture and light three-dimensional environments. (Prerequisites: SOFA-121 or equivalent course.
Co-requisites: SOFA-107 or equivalent course or student standing in DIGCIME-BS.) Lab 3, Lecture 2 (Spring). | ||
General Education – First-Year Writing (WI) |
3 | |
| Second Year | ||
| SOFA-205 | Basic Sound Recording |
3 |
Students will learn to work with sound and to distinguish and evaluate proper sound techniques for film and animation productions. The course lays the foundation for professional work in the sound industry. Each student records audio and prepares a mixed soundtrack to professional quality standards. (Prerequisite: SOFA-101 or equivalent course.) Lab 2, Lecture 3 (Fall, Spring). | ||
| SOFA-217 | Animation Production Workshop I |
3 |
This course will provide the first practical experience of building a complete animated film from conception to finish. Students will apply their knowledge within the greater context of an animation production pipeline. Weekly workshops are focused on helping students plan, develop, and execute their work with regular milestones and deadlines. Students will practice time-management and build skills to adhere to deadlines, and will present their completed films to the RIT community. (Prerequisites: (SOFA-203 or SOFA-215 or SOFA-522) and SOFA-228 or equivalent courses.) Lec/Lab 4 (Spring). | ||
| SOFA-228 | Animation Scriptwriting and Storyboard (WI-PR) |
3 |
This course concentrates on the structures of temporal organization for the screen in all animated productions. Particular attention is paid to the structures of writing and the layout of movements and visual composition via editing into storyboards. Various individual written projects will be required of the student, leading to a final story for an animated film that will be fully storyboarded and formatted. (Prerequisites: FDTN-121 or FDTN-131 or equivalent courses and completion of First Year Writing (FYW) requirement.
Co-requisites: SOFA-203 or SOFA-215 or SOFA-522 or equivalent courses.) Lecture 3 (Fall). | ||
| SOFA-541 | History and Aesthetics of Animation (WI-PR) |
3 |
This course will explore the beginnings, the evolution, the creative and practical history of the animated film, including prehistory of animation, early film and animation history, major trends, artists, animation studios, theoretical distinctions, and international identities in animation. Issues of animation aesthetics will also be elucidated through discussions, readings, and reviews of exemplary films to emphasize the unique characteristics of the animated art form and how those characteristics are used as a means of interpretation and expression. Both orthodox and unorthodox animation will be highlighted. Films will be screened at every lecture. (Prerequisites: SOFA-121 or equivalent course and completion of First Year Writing (FYW) requirement.) Lec/Lab 4 (Fall or Spring). | ||
| Choose one of the following: | 3 |
|
| SOFA-203 | 2D Animation I (2D) |
|
This course focuses specifically on the sequential stages of hand-drawn digital animation. Students will explore every stage of production of a short animated scene, including dialogue, from ideation to clean up. Each week builds on the previous week’s progress. The final result is a complete rough-animated scene. (Prerequisites: SOFA-107 and SOFA-108 or equivalent courses.) Studio 6 (Fall). | ||
| SOFA-215 | 3D Animation I (3D) |
|
This course is an introduction to three-dimensional computer animation and character rigging. The basic principles of animation will be addressed in relation to three-dimensional animation. Character rigging techniques are presented and will include skeletons and animation controls. Students produce a series of short 3D computer animations and some basic character rigs. Students will become familiar with a variety of 3D computer animation techniques. (Prerequisite: SOFA-107 or equivalent course.) Lab 3, Lecture 2 (Fall). | ||
| SOFA-522 | Stop Motion Puppet Fundamentals |
|
This is an introductory course that will give students a basic and solid understanding of stop-motion animation. The class covers all aspects of stop-motion in its various forms but will mainly concentrate on stop-motion puppet/character animation. There will be demonstrations on model fabrication, animation techniques and camera/grip techniques. More in-depth topics, like latex and silicon mold making and intensive post production techniques will be introduced. There will be opportunities for students to practice animation with specific goals and assignments. (Prerequisite: SOFA-107 or equivalent course.) Lab 3, Lecture 2 (Fall). | ||
| Choose one of the following: | 3 |
|
| SOFA-224 | 2D Digital Animation (2D) |
|
This course will introduce students to two-dimensional computer animation, adapting traditional techniques to the digital production environment. Students will learn how to use specialized 2D animation software to produce short exercises adapted from traditional animation techniques. Students should be able to apply 2D digital animation tools into their own work. (Prerequisite: SOFA-107 or equivalent course.) Lab 5 (Fall). | ||
| SOFA-226 | Advanced 3D Modeling (3D) |
|
This course will focus on three-dimensional character modeling. Students will learn about anatomy and creating economical topology for deformation in animation and be introduced to industry-standard digital sculpting techniques. (Prerequisites: SOFA-209 or equivalent course.) Lab 3, Lecture 2 (Fall). | ||
| Choose one of the following: | 3 |
|
| SOFA-216 | 3D Animation II (3D) |
|
In this course students will learn the mechanics of motion within characters. Complete character-rigging techniques will be discussed and demonstrated. Students will gain further knowledge of a variety of three-dimensional computer animation techniques and will produce a series of short 3D computer animations using a pre-rigged character. (Prerequisite: SOFA-215 or equivalent course.) Lab 3, Lecture 2 (Spring). | ||
| SOFA-218 | Concept and Character Design (2D) |
|
This course will introduce students to the basics of design as applied to characters and environments for animated productions. Students will create and develop a cast of characters for an imagined property, focusing on group dynamics, visual appeal and personality development. Line, color, texture, shape, form and story are referenced when developing characters and environments. Students will institute a process of visual development through a variety of exercises, working toward a final, finished project. (Prerequisite: SOFA-203 or equivalent course.) Lab 3, Lecture 2 (Spring). | ||
| SOFA-533 | Advanced Stop Motion Techniques |
|
This course will introduce stop motion students to advanced techniques of photographic single frame production. This course will concentrate on fabrication techniques from sculpting to mold building, including an introduction to three-dimensional printing. History and the specific language of stop motion will be covered. Camera and camera lenses and lighting are explored along with various exercises in animation. (Prerequisites: SOFA-522 or equivalent course.) Lab 3, Lecture 2 (Spring). | ||
Open Elective |
3 | |
General Education – Ethical Perspective |
3 | |
| Choose one of the following: | 3 |
|
General Education – Natural Science Inquiry Perspective |
||
General Education – Scientific Principles Perspective |
||
General Education – Mathematical Perspective A or B |
||
| Third Year | ||
| SOFA-303 | Animation Production Workshop II |
6 |
Students will explore phases of animation short film production in their area of interest as determined by their experiences with their second-year films. Through identification of project needs and exploration and fulfillment of determined objectives, unique filmic assets will be created. (Prerequisites: SOFA-217 or equivalent course.) Critique 3 (Fall or Spring). | ||
| SOFA-518 | Business and Careers in Animation |
3 |
This course will focus on the role of the small animation business owner, the studio employee, and the individual freelance animator in developing a small business. The elements of discussion will teach students how to approach animation work in the industry from a small business perspective. This course will discuss the creation of sample reels, websites, self-promotion, contracts, pitching, fund-raising, research and interview techniques all related to the individual in animation. Ethics and individual responsibilities will also be discussed. Professionals working in the animation industry will often be guests for the class. (Prerequisites: SOFA-217 or equivalent course.) Lecture 3 (Spring). | ||
| Choose one of the following: | 3 |
|
| SOFA-323 | 2D Animation II: Performance |
|
This course will focus on the continued development of students’ skills in the two-dimension animation medium, using computer software. As an intermediate course, students will build on the skills they accrued as well as learn new, advanced techniques. A variety of examples of 2D computer animation will be screened in class. (Prerequisites: SOFA-218 or equivalent course.) Studio 6 (Spring). | ||
| SOFA-582 | Alternative Frame By Frame |
|
This course will give all students a chance to explore three different approaches to stop-motion animation. The class will study and experiment with pixilation, time-lapse and relief animation with a “down-shooter.” These techniques will expand the student’s knowledge of traditional and experimental animation and present an alternative means of expression. The class will study existing work with these techniques, analyze and discuss them with the instructor and then produce several examples of their own work after instruction for each approach. There will be a final project in the technique of the student’s choice. (This class is restricted to students with majors in CAD and at least 3rd year student standing.) Lecture 3 (Fall). | ||
CAD Elective† |
||
| Choose one of the following: | 3 |
|
| SOFA-575 | 3D Lighting and Rendering |
|
This course is an intensive look at lighting for three-dimensional animation pipelines. Students will learn to observe, plan and replicate real-world environments and expand those into artistic interpretations of style and design. There will be a strong focus on surfacing, set-dressing, production design, as well as economical rendering techniques. Students will learn to identify the balance between artistic needs and technical limitations and how to adequately prepare a scene for post-production practices. (Prerequisite: SOFA-216 or equivalent course.) Lab 3, Lecture 2 (Spring). | ||
CAD Elective† |
||
Professional Electives |
6 | |
General Education – Social Perspective |
3 | |
General Education – Immersion 1 |
3 | |
Open Elective |
3 | |
| Fourth Year | ||
| Choose one of the following: | 3 |
|
| SOFA-411 | Animation Capstone I |
|
The first of two classes designed to advance students toward the completion of a capstone. It will advance students from capstone proposal toward the completion of a project. Students will also take part in weekly critiques to present their work and discuss the work of their classmates. At the completion of this course, students should be at the halfway point of their set project. (Prerequisites: SOFA-303 or SOFA-317 or equivalent course.) Lecture 4 (Fall). | ||
CAD Elective† |
||
| Choose one of the following: | 3 |
|
| SOFA-411 | Animation Capstone I |
|
The first of two classes designed to advance students toward the completion of a capstone. It will advance students from capstone proposal toward the completion of a project. Students will also take part in weekly critiques to present their work and discuss the work of their classmates. At the completion of this course, students should be at the halfway point of their set project. (Prerequisites: SOFA-303 or SOFA-317 or equivalent course.) Lecture 4 (Fall). | ||
| SOFA-412 | Animation Capstone II |
|
This course will lead students toward the completion of their capstone. Students will take part in weekly critiques to present their work and discuss the work of their classmates. At the completion of this course, students will complete their capstone and take part in a public screening of their finished work. (Prerequisite: SOFA-411 or equivalent course.) Lecture 4 (Spring). | ||
CAD Elective† |
||
History and Aesthetics Elective |
3 | |
Open Electives |
9 | |
General Education – Immersion 2, 3 |
6 | |
CAD Elective† |
3 | |
General Education – Elective |
3 | |
| Total Semester Credit Hours | 120 |
|
Please see General Education Curriculum (GE) for more information.
(WI) Refers to a writing intensive course within the major.
* Please see Wellness Education Requirement for more information. Students completing bachelor's degrees are required to complete two different Wellness courses.
† CAD Elective - any College of Art and Design course.
Electives
History and Aesthetics Electives
| Course | ||
|---|---|---|
| ARTH-### | Any "ARTH" undergraduate course |
|
| GRDE-205 | History of Graphic Design |
|
This course will focus on the development of graphic communication from prehistory through the present. This course will provide students with knowledge and understanding of the places, people, events; historical and cultural factors; and technological innovations that have influenced the practice of graphic design. Lectures are complemented by guest speakers, archive visits, videos, research projects, critical writing and discussion. (Prerequisites: Completion of any two ARTH 100 level courses or equivalent courses.) Lecture 3 (Fall or Spring). | ||
| GRDE-322 | Women Pioneers in Design |
|
This course will center on the contributions made by Modernist women designers. Emphasis will be placed on their unheralded pioneering efforts. Exemplars from the field will be presented, set in a historical context. Lectures are complemented by guest speakers, videos, participatory exercises, discussion, and critical essay writing. (This course is restricted to undergraduate students in CAD with at least 2nd year standing.) Lecture 3 (Fall, Spring). | ||
| ILLS-142 | Comics: Image & Text in Popular Culture |
|
An interdisciplinary introduction to comics and related media that blend image and text. By reading and discussing a range of popular comics, from newspaper comic strips to long-form superhero comics and graphic novels, we will learn both how to analyze comics and how the medium of comics emerged in and remains vital to popular culture. Through the use of interdisciplinary methods and resources in art history, communications and journalism, literary studies, material culture studies, rhetoric, sociology, and visual culture studies, we will also explore the aesthetic, cultural, historical, and global significance of comics. Lecture 3 (Fall or Spring). | ||
| MLFR-151 | Film, Comics, and French Culture |
|
The course focuses on French culture through feature films, animated films, and comic books. France is the strongest film industry in Europe and is one of the world’s major movie export powers after the U.S. Franco-Belgian comics are one of the main groups of comics, together with American and British comic books and the Japanese manga. France is Europe’s largest producer and the world’s third largest exporter of animated film. What do French films and comics tell us about French culture? The course explores aspects of contemporary French society. It addresses a broad range of topics including multiculturalism in France, French cuisine and the French paradox, fashion in France, the impact of the two world wars on French society, the legacy of the French colonial experience, and ethnic and sexual minorities in France. The course examines the interconnectedness of French culture with other cultures in the world, particularly American culture and the cultures of former French colonies. Students will also have to interpret and evaluate French films and comic books considering the cultural context in which they were created. They will learn about the specificity of French cinema as opposed to Hollywood productions, of French animated films versus American animated films and Japanese anime, and of Franco-Belgian comics as opposed to American and British comics and the Japanese manga. The course also offers a brief introduction to spoken French. Lecture 3 (Spring). | ||
| PHAR-211 | Histories and Aesthetics of Photography I |
|
This course presents an overview of the multiple, intersecting histories and aesthetic practices of photography between 1800 and 1915 and its applications in fine art, snapshot, documentary, scientific, commercial, and propaganda in a global perspective. Course lectures include the medium’s pre-history and the development of photography as a modern art form. Students will learn about different photographic processes as well as the multiple interpretations of notable images from the era, and will analyze connections between science, culture, history, and photography. Lecture 3 (Fall or Spring). | ||
| PHAR-212 | Histories and Aesthetics of Photography II |
|
The objective of this course, the second course of a two-semester sequence, is to present an overview of the multiple, intersecting histories and aesthetic practices of photography from the development of Modernism at the beginning of the 20th century to the present, including the medium’s transformation by digital imaging in the 21st century. Photography’s applications within fine art, documentary, scientific, journalistic, commercial, and vernacular practices will be investigated within a global perspective. Lecture 3 (Spring). | ||
| SOFA-511H | Film Sound Theory: Music |
|
This course is one of three in the study of film sound theory. Through readings, focused group discussion, and the viewing of/listening to select films, the course promotes critical analysis of the varied and profound uses of music in sound design. The history of music in film from the silent era to the modern score will be addressed. Concepts studied include the modal changes in point-of-audition, and positioning across diegeses. More recent trends, including audio-visualization and ventriloquism theory, are also explored. (This course is restricted to students in the FILMAN-BFA and DIGCIME-BS programs.) Lec/Lab 6 (Fall or Spring). | ||
| SOFA-512 | Film Sound Theory: Effects |
|
This course is one of three in the study of film sound theory. Through readings, focused group discussion, and the viewing of/listening to select films, the course promotes critical analysis of the varied and profound uses of effects in sound design. Addressed is the history of effects from the early sound era to the modern design. The concepts studied include the modal changes in point-of-audition, and positioning across diegeses. Other topics like complementarity and the acousmetre acousmatic are also addressed. (This course is available to RIT degree-seeking undergraduate students.) Lecture 3, Seminar 3 (Fall, Spring, Summer). | ||
| SOFA-513 | Film Sound Theory: Voice |
|
Through readings, focused group discussion, and the viewing/listening of select films, the course promotes critical analysis of the varied and profound uses of voice in sound design. The history of voice from the silent era to the modern sound design will be addressed. The concepts studied include the modal changes in point-of-audition, and positioning across diegeses. Other topics will also be addressed: vococentric mixing and separation, dialogue theory, etc. At the conclusion of the course each student will present on a chosen concept within film voice theory. (This course is available to RIT degree-seeking undergraduate students.) Lab 3, Lecture 3 (Fa/sp/su). | ||
| SOFA-561 | New Documentary Issues |
|
This course will examine the current trends in documentary film during the last decade. Students will view 1-2 documentary films each week. Students will examine each film critically; analyzing the film’s theme, structure, style, relationship to reality, and effectiveness. In addition, students will examine how current filmmakers interpret and build upon the basic ideas and discourse that have defined documentary filmmaking since its beginnings. (Prerequisites: SOFA-106 or SOFA-131 or equivalent courses.) Lec/Lab 4 (Fall). | ||
| SOFA-562 | Film History |
|
This course examines selected, varying film topics in a wider socio-historical context. Seminar themes change each year and may include topics such as post-war German film, films of the Holocaust, Japanese film, surrealist and magic realist film, Soviet film, Native Americans on film, etc. Students are expected to participate actively in the course discussions. (Prerequisites: SOFA-106 or SOFA-131 or equivalent courses.) Lec/Lab 5 (Fall, Spring). | ||
| SOFA-566 | Documentary Film History |
|
This course will examine the development of documentary film from 1920 to the present day. Students will explore central themes in documentary filmmaking, including the Grierson social documentary, the Flaherty romantic tradition, cinema verite, propaganda films, first-person narratives, and experimental documentary. Through film viewings, class discussions, and assigned readings, the students will critically examine how documentary film is constructed, keeping in mind the critical relationship between the film’s content and its meaning. (Prerequisite: SOFA-131 or equivalent course.) Lec/Lab 5 (Spring). | ||
| VISL/WGST-388 | Gender and Contemporary Art |
|
Professional Electives
| Course | ||
|---|---|---|
| IGME-119 | 2D Animation and Asset Production |
|
This course provides a theoretical framework covering the principles of animation and its use in game design to affect user experience. Emphasis will be placed upon principles that support character development and animations that show cause and effect. Students will apply these principles to create animations that reflect movement and character appropriate for different uses and environments. (This course is restricted to students in GAMEDES-BS or NWMEDID-BS or GAMED-MN students.) Lec/Lab 3 (Fall, Spring). | ||
| IGME-220 | Game Design & Development I |
|
This course examines the core process of game design, from ideation and structured brainstorming in an entertainment technology context through the examination of industry standard processes and techniques for documenting and managing the design process. This course specifically examines techniques for assessing and quantifying the validity of a given design, for managing innovation and creativity in a game development-specific context, and for world and character design. Specific emphasis is placed on both the examination and deconstruction of historical successes and failures, along with presentation of ethical and cultural issues related to the design and development of interactive software and the role of individuals in a team-oriented design methodology. Students in this class are expected to actively participate and engage in the culture of design and critique as it relates to the field. (This course is restricted to students in GAMEDES-BS or NWMEDID-BS or GAMED-MN or GAMEDD-MN YR 2-5 students.) Lec/Lab 3 (Fall, Spring). | ||
| IGME-317 | 3D Asset Production Pipeline for Videogames |
|
There is a need in the video game industry for 3D artists who have an understanding of the specific techniques used when creating game assets. This course is intended to give art students an overview of how 3D asset creation for video games differs from other media. Students with 3D art experience will be exposed to the skills necessary to produce game ready 3D art assets, and to participate in the creation of a completed video game. The entire video game asset production pipeline will be covered, with a focus on 3D game asset development topics such as low-poly modeling, model and texture optimization, reducing draw calls, joint/rigging limitations, and animation limitations. Students will work on a multi-disciplinary video game team, and create 3D art assets for the game. Proficiency with 3D modeling, UV unwrapping, texturing, rigging, and animation is required. (This course is restricted to undergraduate students in CIAS with at least 2nd year standing.) Lec/Lab 3 (Fall, Spring). | ||
| IGME-320 | Game Design & Development II |
|
This course continues to examine the core theories of game design as they relate to the professional field. Beginning with a formalized pitch process, this course examines the design and development paradigm from story-boarding and pre-visualization through rapid iteration, refinement, and structured prototyping exercises to further examine the validity of a given design. Specific emphasis is placed on iterative prototyping models, and on methodologies for both informal and formal critique. This course also explores production techniques and life-cycle in the professional industry. (Prerequisites: (IGME-202 and IGME-220 or equivalent courses and GAMEDES-BS or NWMEDID-BS or GAMEDD-MN students) or (IGME-102 and IGME-220 or equivalent courses and GAMED-MN students).) Lec/Lab 3 (Fall, Spring). | ||
| IGME-580 | IGM Production Studio |
|
This course will allow students to work as domain specialists on teams completing one or more large projects over the course of the semester. The projects will be relevant to experiences of the interactive games and media programs, but will require expertise in a variety of sub-domains, including web design and development, social computing, computer game development, multi-user media, human-computer interaction and streaming media. Students will learn to apply concepts of project management and scheduling, production roles and responsibilities, and their domain skill sets to multidisciplinary projects. Students will complete design documents, progress reports and final assessments of themselves and their teammates in addition to completing their assigned responsibilities on the main projects. (Prerequisites: (IGME-320 or equivalent course and GAMEDES-BS students) or (IGME-330 or equivalent course and NWMEDID-BS students).) Lec/Lab 3 (Fall, Spring, Summer). | ||
| PRFL-268 | Composing for Media |
|
Composing for Media will guide the student through the process of creating original music to accompany a visual medium. The course begins by focusing on the aesthetics, terminology, procedures, and technical aspects of film scoring. As the course progresses, the skills acquired will progress towards a class project of scoring a short film or animation. By using a broad range of techniques including click tracks, spotting, scoring under dialogue, free timing, and the creative use of overlap cues, students will learn how to develop a dramatic concept for a score and how to synchronize it seamlessly to visual events. This course is applicable to musicians interested in scoring music to visual media as well as students with skills in the areas of audio engineering, film and animation and video gaming. No previous film scoring experience is required. Fundamental knowledge and a background in music will be introduced in the class topics. In addition to a good ear for music, a functional ability with MIDI sequencing, via DAW—a proficiency in the use of sample libraries and audio plug-ins and basic audio mixing—is expected. Entrance to the class requires instructor permission. Lecture 3 (Fall). | ||
| PRFL-378 | Composing for Video Games and Interactive Media |
|
An audio professional working in the gaming industry is required to possess not only musical and audio talent, but also knowledge and experience with typical audio workflow. Composing for Video Games and Interactive Media prepares the student for a career in the industry by covering the many facets of sound production and engineering that are particular to game music and other forms of interactive media. Lecture 3 (Annual). | ||
Any DDDD course, per catalog restrictions |
||
Any ILLS course, per catalog restrictions |
||
Any GAMA course, per catalog restrictions |
||
Any SOFA course, per catalog restrictions |
||
Film and Animation (production option), BFA degree, typical course sequence
| Course | Sem. Cr. Hrs. | |
|---|---|---|
| First Year | ||
| ARTH-1## | Any 100 Level ARTH Course (General Education – Global Perspective) |
3 |
| SOFA-101 | Production I |
3 |
Filmmaking is presented as a means of interpretation and expression. This course combines technical information in motion picture exposure and editing with a theoretical and practical approach to motion picture continuity through non-synchronous film production and editing. The course also will provide an aesthetic understanding and essential vocabulary of film production, script, and budget planning. In this course, students will have the opportunity to work in groups to visual storytelling and editing techniques to experiment with different styles. (This class is restricted to 1st and 2nd year students in FILMAN-BFA or DIGCIME-BS.) Lecture 2, Studio 3 (Fall or Spring). | ||
| SOFA-105 | Documentary Field Practices |
4 |
This foundation level course introduces students to documentary film as a creative and socially engaging form of storytelling. In addition to aesthetic and conceptual skills, production techniques focus on the ability to develop filming strategies, gathering clean sound, filming to edit, and interviewing skills. In addition, the relationship between filmmaker and subject, will be examined, including the ethical challenges of representing real life subjects. Critical thinking skills will be employed as we analyze the different styles of documentary film. Students will work in small documentary crews out in the field learning the use of microphones, field lighting, handheld and other non-traditional camerawork, selecting/interviewing documentary subjects and capturing material with proper coverage in order to build scenes in the edit room. (Prerequisite: SOFA-101 or equivalent course.) Lab 3, Lecture 3 (Fall, Summer). | ||
| SOFA-112 | Fundamentals of Screenwriting |
3 |
This course will introduce students to the forms and techniques of writing for visual media, particularly the short film. Students will develop resources for finding stories and concepts that can be turned into films. Students will be responsible for writing a short script of their own choosing and for completing several brief written exercises in areas such as personal storytelling, character development, dialogue, and plot. Scripts written in this course can be used as the basis for films produced in other classes. (This class is restricted to 1st and 2nd year students in FILMAN-BFA or DIGCIME-BS.) Lecture 3 (Spring). | ||
| SOFA-121 | Animation I (General Education – Artistic Perspective) |
3 |
This class will introduce students to the gamut of animation thinking and making through classroom instruction and hands-on practical experience. Lecture and readings will emphasize the process, theory and practice of animated filmmaking with extensive film screenings to illustrate each technique and related aesthetics. Hands-on supervised studio sessions will guide students to an intuitive understanding of the process of producing animation and students will use this understanding to analyze various animated works. Each student will develop their personal vision through assigned projects utilizing the material discussed in class. **This course has a facilities fee for Non-SOFA students.** Lab 3, Lecture 2 (Fall, Spring). | ||
| SOFA-122 | Fundamentals of Computers and Imaging Technology |
3 |
This course provides an introductory overview to computer systems and to principles associated with motion picture technologies. Topics covered include computer history, basics in computer architecture basics, operating systems, HTML and networking. Human vision and perception, image capture and display technologies (both analog and digital), digital image processing and post-production equipment and software are also covered. The course focuses on exposing the students to basic principles necessary to proceed with subsequent courses with production or animation focus. (This class is restricted to 1st and 2nd year students in FILMAN-BFA.) Lab 3, Lecture 2 (Fall, Spring). | ||
| SOFA-131 | Film History and Theory I |
3 |
Film History and Theory I is a motion picture examination and readings course. It will give media production students the opportunity to trace the development of many of the techniques and forms in what now constitute traditional and expanded definitions of cinema. The course is taught from the perspective of a practicing filmmaker involved in the critical exploration of film language as well as its historical and cultural dimensions. In addition to lectures, the course includes weekly screenings of seminal works from the history of cinema. Screenings support class lectures. (This class is restricted to 1st and 2nd year students in FILMAN-BFA or DIGCIME-BS.) Lec/Lab 5 (Fall). | ||
| YOPS-10 | RIT 365: RIT Connections |
0 |
RIT 365 students participate in experiential learning opportunities designed to launch them into their career at RIT, support them in making multiple and varied connections across the university, and immerse them in processes of competency development. Students will plan for and reflect on their first-year experiences, receive feedback, and develop a personal plan for future action in order to develop foundational self-awareness and recognize broad-based professional competencies. (This class is restricted to incoming 1st year or global campus students.) Lecture 1 (Fall, Spring). | ||
General Education – First-Year Writing (WI) |
3 | |
General Education – Ethical Perspective |
3 | |
General Education – Elective |
3 | |
| Second Year | ||
| SOFA-205 | Basic Sound Recording |
3 |
Students will learn to work with sound and to distinguish and evaluate proper sound techniques for film and animation productions. The course lays the foundation for professional work in the sound industry. Each student records audio and prepares a mixed soundtrack to professional quality standards. (Prerequisite: SOFA-101 or equivalent course.) Lab 2, Lecture 3 (Fall, Spring). | ||
| SOFA-206 | Directing |
3 |
This course is an introduction to the arts of directing and acting with an emphasis on script analysis, performance, and blocking. Students direct and act in scenes from professional productions. Scenes are rehearsed outside of class, and then staged and critiqued in class. (Prerequisites: SOFA-102 or SOFA-101 or equivalent course.) Lec/Lab 3 (Fall, Spring). | ||
| SOFA-208 | Dramatic Structure (WI-PR) |
3 |
This course not only examines the creative construction of various types of dramatic work, but also the less tangible elements of the art, including theme, truth, factual accuracy, social responsibility, dramatic license, philosophy, and the role of the dramatist in a rapidly changing world. Students will engage with a variety of writing methodologies and practices through screenings of feature films, documentaries, historical adaptations, limited series, one-hour dramas, and half-hour TV comedies that help illustrate the lessons within the topics. (Prerequisites: SOFA-112 and (SOFA-131 or SOFA-106) or equivalent courses and completion of First Year Writing (FYW) requirement.) Lab 3, Lecture 2 (Fall). | ||
| SOFA-214 | Fundamentals of Editing |
3 |
This course introduces students to the approaches editors use to make aesthetic choices within a variety of genres. Students will review and analyze the work of master editors, and deconstruct editors’ choices that “leave the script behind” and honor the essence of a story through innovative editing. Aspects of editing to be studied include continuity editing, associational editing, dialogue editing, building a character’s point of view, pacing, performance, building montage, and storytelling. Students will examine editing theories and styles in a workshop environment, developing the ability to start and manage an edit in current software. Students will demonstrate technical understanding of importing, organizing, and managing media for complex projects; visual and time-based effects; sound processing; track building; multi-camera editing; and graphics. (Prerequisite: SOFA-105 or equivalent course.) Lab 3, Lecture 2 (Spring). | ||
| SOFA-502 | Production Processes |
6 |
This course is an introduction to all aspects of professional film/video narrative production. Students produce short projects while learning basic shooting and crewing procedures, studio protocol, equipment handling and maintenance, and basic sync editing. (Prerequisites: SOFA-105 or SOFA-205 or equivalent course.) Lecture 2, Studio 10 (Fall or Spring). | ||
| Choose one of the following:† | 4 |
|
| SOFA-211 | Documentary Workshop |
|
Students will make a short documentary film on a subject they choose. Students plan for pre-production including research, contacting possible subjects, and writing a project proposal. During the production phase of the film, students will learn interviewing skills, how to direct a documentary crew, and how to work with their subjects. During post production, students will learn how to organize their material into a short film. Students will complete projects for screening at the end of the semester. (Prerequisites: SOFA-105 or PHPJ-315 or FDTN-141 or equivalent course.) Lecture 4 (Fall, Spring). | ||
| SOFA-212 | Fiction Workshop |
|
Students will direct short fiction projects using either film or digital media and also serve on the production crew for other projects. Students specializing in a cinematic craft will work in important creative capacities (cinematography, editing, and sound) on two or more projects. Students are encouraged to explore individual styles and concepts. Intensive pre-production protocol and documentation are followed. Students will devise how to best translate a screenplay into a fleshed-out motion-media dramatic experience. Acumen in areas such as shot selection, performance motivation, and resource management will be necessary. Editing and sound design will be completed as well. Students will complete projects for screening at the end of the semester. (Prerequisite: SOFA-502 or equivalent course.) Lecture 4 (Fall, Spring). | ||
| SOFA-537 | Radical Cinema Workshop |
|
Students will produce at least one completed artistic work that uses the moving image. This course demands the use of alternative expressions in concept, style, or technology, and students are encouraged to take risks, break "rules" and explore their own unique creative potential. Students may work in a variety of media, depending on their proficiencies and their vision of the project. Students will complete projects for screening at the end of the semester. Students can retake this course as a CAD elective once they have completed their Production Workshop requirement. (Prerequisites: SOFA-105 or SOFA-502 or equivalent course.) Lecture 4 (Fall, Spring). | ||
| Choose one of the following: | 3 |
|
General Education – Natural Science Inquiry Perspective |
||
General Education – Scientific Principles Perspective |
||
General Education – Mathematical Perspective A or B |
||
CAD Elective‡ |
3 | |
General Education – Social Perspective |
3 | |
| Third Year | ||
| SOFA-306 | Senior Capstone Seminar |
2 |
Students are guided through the process of composing a successful Senior Capstone proposal. Students conceive and develop projects through idea to script. Craft students develop collaborative plans and mood boards. A draft of a written proposal with script will be presented in the fall to faculty for signatures and approval. This course is a pre-requisite for Production Capstone (SOFA-416 Production Capstone I and SOFA-417 Production Capstone II). (Co-requisites: (SOFA-211 or SOFA-212 or SOFA-537) and 2 of the following courses: (SOFA-521, SOFA-523, SOFA-524, SOFA-526, SOFA-578) or equivalent courses.) Lecture 2 (Spring). | ||
| SOFA-514 | Business and Careers in Film |
3 |
An introduction to all aspects of the business side of professional film/video narrative documentary and commercial production. Students will form production companies and develop a business plan while considering alternative careers in film, basic financial and legal protocol, and mental preparation needed to enter the film business market. Resumes and reels are assigned projects. (Prerequisite: SOFA-502 or equivalent course.) Lecture 3 (Fall, Spring). | ||
History and Aesthetics Electives |
3 | |
CAD Electives‡ |
6 | |
SOFA Craft Choice§ |
6 | |
Open Electives |
6 | |
General Education – Immersion 1 (WI-GE) |
3 | |
| Fourth Year | ||
| SOFA-416 | Production Capstone I |
4 |
The first of two classes designed to advance students toward the completion of a capstone. It will advance students from capstone proposal toward the completion of a project. Students will also take part in weekly critiques to present their work and discuss the work of their classmates. At the completion of this course, students should be at the halfway point of their set project. (Prerequisite: SOFA-306 or equivalent course.) Lecture 4 (Fall). | ||
| SOFA-417 | Production Capstone II |
4 |
This course will lead students toward the completion of their capstone. Students will take part in weekly critiques, present their work, and discuss the work of their classmates. At the end of this course, students will complete their capstone and take part in a public screening of their finished work or craft experience. (Prerequisite: SOFA-416 or equivalent course.) Lecture 4 (Fall). | ||
Open Electives |
9 | |
General Education – Immersion 2, 3 |
6 | |
CAD Elective‡ |
3 | |
History and Aesthetics Elective |
3 | |
| Total Semester Credit Hours | 120 |
|
Please see General Education Curriculum (GE) for more information.
(WI) Refers to a writing intensive course within the major.
* Please see Wellness Education Requirement for more information. Students completing bachelor's degrees are required to complete two different Wellness courses.
† SOFA production workshop courses include Documentary Workshop (SOFA-211), Fiction Workshop (SOFA-212), and Radical Cinema Workshop (SOFA-537). Students must complete two production workshops over the course of three semesters, starting in the spring of the second year and ending in the spring of the third year. Once the student has completed two different workshops, courses may be repeated for credit.
‡ CAD Elective - any College of Art and Design course. Approved electives from outside CAD include Composing for Media (PRFL-268) and Composing for Video Games and Interactive Media (PRFL-378).
§ SOFA craft choice courses include Advanced Sound Recording (SOFA-521), Advanced Editing (SOFA-523), Advanced Directing (SOFA-524), Writing the Short (SOFA-526), Advanced Cinematography I (SOFA-578).
Electives
History and Aesthetics Electives
| Course | ||
|---|---|---|
| ARTH-### | Any "ARTH" undergraduate course |
|
| ANTH-310 | African Film |
|
This course considers the diversity, contours and synergies of African films and filmmaking, traversing the continent to view films from Senegal, the Democratic Republic of Congo, Nigeria, South Africa, Zambia, Kenya, Egypt and Mali. Though much scholarship has focused on influential African filmmakers and nationally located cinemas, the straight-to-video systems of the 1980s and 1990s had a profound impact on African films and filmmaking. Nollywood and other video film industries began to dominate film production and transnational mobility, influencing new film technologies and industries, accessibility and addressability across the globe. Topics in this course include the influence of African film directors on filmmaking, and critical developments in major industries; Nollywood and beyond, and the cultural aesthetics, politics and economics that affect their global mobility and popular appeal; postcolonial identities and power; music and oral traditions of storytelling; didactic, post-colonial cinema with moral, political missions vs. ‘arthouse’ approaches; Afrofuturist and speculative cinema; channels such as African Magic that are shown in more than 50 African countries; and the effects of video streaming on global stardom and popularity. Students will learn about diverse African films and approaches to filmmaking, and the vibrant people and creative cultures that make up these film industries. Lecture 3 (Fall or Spring). | ||
| ANTH-430 | Visual Anthropology |
|
We see others as we imagine them to be, in terms of our values, not as they see themselves. This course examines ways in which we understand and represent the reality of others through visual media, across the boundaries of culture, gender, and race. It considers how and why visual media can be used to represent or to distort the world around us. Pictorial media, in particular ethnographic film and photography, are analyzed to document the ways in which indigenous and native peoples in different parts of the world have been represented and imagined by anthropologists and western popular culture. Lecture 3 (Fall, Spring). | ||
| GRDE-205 | History of Graphic Design |
|
This course will focus on the development of graphic communication from prehistory through the present. This course will provide students with knowledge and understanding of the places, people, events; historical and cultural factors; and technological innovations that have influenced the practice of graphic design. Lectures are complemented by guest speakers, archive visits, videos, research projects, critical writing and discussion. (Prerequisites: Completion of any two ARTH 100 level courses or equivalent courses.) Lecture 3 (Fall or Spring). | ||
| GRDE-322 | Women Pioneers in Design |
|
This course will center on the contributions made by Modernist women designers. Emphasis will be placed on their unheralded pioneering efforts. Exemplars from the field will be presented, set in a historical context. Lectures are complemented by guest speakers, videos, participatory exercises, discussion, and critical essay writing. (This course is restricted to undergraduate students in CAD with at least 2nd year standing.) Lecture 3 (Fall, Spring). | ||
| MLFR-352 | The French Heritage in Films |
|
Heritage films are central to the French cinematographic production. They enable the transmission and the reevaluation of a tradition that lies at the core of French cultural identity. This course examines a selection of French films adapted from both canonical and non-canonical texts representative of major events, trends, social issues, and artistic movements that contributed to shaping modern France. Students will become familiar with world-renowned French novels, short stories, comic books, and films. The course deals with topics such as aristocratic culture, racial identity in France, the myth of the resistance and the legacy of the Second World War, France’s rural past, the French colonial experience, women and bourgeois culture, the long-standing tradition of comic books and comedy in France, the Tradition of Quality, the French New Wave, and heritage films. The course also examines the interconnectedness of French culture and the cultures of the United States, England, and former French colonies. It notably explores how the French colonial experience informed the development of French cinema, and how French heritage films were both inspired and reinterpreted by British and American cinematographic industries to reflect the cultures and values of those societies. Conducted in English. Lecture 3 (Spring). | ||
| PHAR-211 | Histories and Aesthetics of Photography I |
|
This course presents an overview of the multiple, intersecting histories and aesthetic practices of photography between 1800 and 1915 and its applications in fine art, snapshot, documentary, scientific, commercial, and propaganda in a global perspective. Course lectures include the medium’s pre-history and the development of photography as a modern art form. Students will learn about different photographic processes as well as the multiple interpretations of notable images from the era, and will analyze connections between science, culture, history, and photography. Lecture 3 (Fall or Spring). | ||
| PHAR-212 | Histories and Aesthetics of Photography II |
|
The objective of this course, the second course of a two-semester sequence, is to present an overview of the multiple, intersecting histories and aesthetic practices of photography from the development of Modernism at the beginning of the 20th century to the present, including the medium’s transformation by digital imaging in the 21st century. Photography’s applications within fine art, documentary, scientific, journalistic, commercial, and vernacular practices will be investigated within a global perspective. Lecture 3 (Spring). | ||
| SOFA-511H | Film Sound Theory: Music |
|
This course is one of three in the study of film sound theory. Through readings, focused group discussion, and the viewing of/listening to select films, the course promotes critical analysis of the varied and profound uses of music in sound design. The history of music in film from the silent era to the modern score will be addressed. Concepts studied include the modal changes in point-of-audition, and positioning across diegeses. More recent trends, including audio-visualization and ventriloquism theory, are also explored. (This course is restricted to students in the FILMAN-BFA and DIGCIME-BS programs.) Lec/Lab 6 (Fall or Spring). | ||
| SOFA-512 | Film Sound Theory: Effects |
|
This course is one of three in the study of film sound theory. Through readings, focused group discussion, and the viewing of/listening to select films, the course promotes critical analysis of the varied and profound uses of effects in sound design. Addressed is the history of effects from the early sound era to the modern design. The concepts studied include the modal changes in point-of-audition, and positioning across diegeses. Other topics like complementarity and the acousmetre acousmatic are also addressed. (This course is available to RIT degree-seeking undergraduate students.) Lecture 3, Seminar 3 (Fall, Spring, Summer). | ||
| SOFA-513 | Film Sound Theory: Voice |
|
Through readings, focused group discussion, and the viewing/listening of select films, the course promotes critical analysis of the varied and profound uses of voice in sound design. The history of voice from the silent era to the modern sound design will be addressed. The concepts studied include the modal changes in point-of-audition, and positioning across diegeses. Other topics will also be addressed: vococentric mixing and separation, dialogue theory, etc. At the conclusion of the course each student will present on a chosen concept within film voice theory. (This course is available to RIT degree-seeking undergraduate students.) Lab 3, Lecture 3 (Fa/sp/su). | ||
| SOFA-541 | History and Aesthetics of Animation |
|
This course will explore the beginnings, the evolution, the creative and practical history of the animated film, including prehistory of animation, early film and animation history, major trends, artists, animation studios, theoretical distinctions, and international identities in animation. Issues of animation aesthetics will also be elucidated through discussions, readings, and reviews of exemplary films to emphasize the unique characteristics of the animated art form and how those characteristics are used as a means of interpretation and expression. Both orthodox and unorthodox animation will be highlighted. Films will be screened at every lecture. (Prerequisites: SOFA-121 or equivalent course and completion of First Year Writing (FYW) requirement.) Lec/Lab 4 (Fall or Spring). | ||
| SOFA-561 | New Documentary Issues |
|
This course will examine the current trends in documentary film during the last decade. Students will view 1-2 documentary films each week. Students will examine each film critically; analyzing the film’s theme, structure, style, relationship to reality, and effectiveness. In addition, students will examine how current filmmakers interpret and build upon the basic ideas and discourse that have defined documentary filmmaking since its beginnings. (Prerequisites: SOFA-106 or SOFA-131 or equivalent courses.) Lec/Lab 4 (Fall). | ||
| SOFA-562 | Film History |
|
This course examines selected, varying film topics in a wider socio-historical context. Seminar themes change each year and may include topics such as post-war German film, films of the Holocaust, Japanese film, surrealist and magic realist film, Soviet film, Native Americans on film, etc. Students are expected to participate actively in the course discussions. (Prerequisites: SOFA-106 or SOFA-131 or equivalent courses.) Lec/Lab 5 (Fall, Spring). | ||
| SOFA-566 | Documentary Film History |
|
This course will examine the development of documentary film from 1920 to the present day. Students will explore central themes in documentary filmmaking, including the Grierson social documentary, the Flaherty romantic tradition, cinema verite, propaganda films, first-person narratives, and experimental documentary. Through film viewings, class discussions, and assigned readings, the students will critically examine how documentary film is constructed, keeping in mind the critical relationship between the film’s content and its meaning. (Prerequisite: SOFA-131 or equivalent course.) Lec/Lab 5 (Spring). | ||
| VISL-373 | American Film Since the Sixties |
|
This course examines the history and aesthetics of the motion picture in the United States since the late 1960s, when the classical studio era ended. Emphasis will be placed on the analysis of both the work of major American filmmakers and the evolution of major American film genres between 1967 and 2001. Among the filmmakers to be studied are Kazan, Cassavetes, Penn, Coppola, Scorsese, Spielberg, Allen, Seidelman, Lee, Burton, Altman, Tarantino, Coen, and Lynch. The course will consider the evolution of such traditional Hollywood genres as the gangster film, the romantic comedy, and the Hollywood movie, study the development of new, blended genres, investigate the rise of the blockbuster, explore the rise of the Independents, and follow the aesthetic changes that occurred since the 1967. The films will be studied within the context of contemporary cultural and political events, and will be discussed from several viewpoints, including aesthetic, technical, social, and economic. The ways in which gender, race, and class are constructed through the movies will also be a major focus of study. Lecture 3 (Spring). | ||
Admissions and Financial Aid
First-Year Admission
First-year applicants are expected to demonstrate a strong academic background that includes:
- 4 years of English
- 3 years of social studies and/or history
- 3-4 years of mathematics
- 2-3 years of science
- A portfolio of expressive, original work must be submitted. View Portfolio Requirements for more information.
Transfer Admission
Transfer applicants should meet these minimum degree-specific requirements:
- A portfolio of expressive, original work must be submitted. View Portfolio Requirements for more information.
- Chemistry or physics is required and both are recommended.
Portfolio Guidelines
Specific instructions on portfolio submission for applicants to the film and animation major are available on the college website. The review committee is looking for work that is original in concept and content. It does not necessarily need to be motion media, but should be visual or aural. Examples include films/videos, photos, drawings, paintings, sculpture, stop-motion puppets, scripts, creative writing, storyboards, and original music.
Financial Aid and Scholarships
100% of all incoming first-year and transfer students receive aid.
RIT’s personalized and comprehensive financial aid program includes scholarships, grants, loans, and campus employment programs. When all these are put to work, your actual cost may be much lower than the published estimated cost of attendance.
Learn more about financial aid and scholarships
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Contact
Program Contacts
Brian Larson, Animation Director
Jack Beck, Production Director
Offered within
the
School of Film and Animation
School of Film and Animation