Film and Digital Media Arts (FDMA)
1210.
Digital Video Production I.
(3)
An introduction to digital video production. Students learn camera operation, lights and audio equipment. Hands-on production is completed in the studio and on location. Special fee required.
1520.
Introduction to Digital Media.
(3)
This course is designed to provide students with a survey of the histories, innovative concepts, and creative possibilities of digital media. Within both the lecture hall and the studio lab, students will consider a wide variety of digital media processes and applications. Additionally, students will learn fundamental skills in teamwork, storytelling, and design.
Meets New Mexico General Education Curriculum Area 4: Social and Behavioral Sciences.
1996.
Topics.
(1-3, no limit Δ)
A course exploring a topic not covered by the standard curriculum but of interest to faculty and students in a particular semester.
2110.
Introduction to Film Studies.
(3)
This course introduces students to the fundamentals in film history, criticism, and theory. Though viewing and analysis of a variety of narrative, documentary, and experimental films, students will advance their understanding of key issues in filmic representation and aesthetics. A range of approaches will be employed in understanding the aesthetic and cultural significance of the medium, including feminism, post-colonialism, critical race theory, and modernism. Special fee required.
Meets New Mexico General Education Curriculum Area 7: Arts and Design.
2195.
Beyond Hollywood.
(3)
This course concentrates on the representation of children and adolescents in world cinema. The portrayal of children throughout world cinema has a long and rich complex history, which has been primarily shaped by family and national structures. Through film screenings, readings, and discussions class will center on the exploration of what it means to look at children and what cultural baggage are their bodies asked to carry. Also, what impact do national and global politics have on the lives of children? Through the establishment and use of basic vocabulary and analytic methodologies of film studies, larger theoretical and practical questions about how cinema functions as a cultural and ideological force, especially how it helps to construct ideas about the family, the nation, and national identities will be addressed. Class screenings will cover a breadth of children and adolescents in world cinema but readings, discussions, and outside film viewings will provide a more comprehensive overall picture. Special fee required.
2280.
Topics in Videomaking.
(3, may be repeated once Δ)
These courses strengthen students’ skills in video technology while helping them write, direct, and edit video projects that begin to reflect a personal, artistic vision. Special fee required.
Prerequisite: 1210.
2286.
Activating Digital Space.
(3)
This class introduces students to the techniques of dramatic narrative and how those techniques can inform a visual grammar where form follows function.
Prerequisite: 1210.
2520.
Introduction to Cinematography.
(3)
The Director of Photography (or Cinematographer), in close collaboration with the Director and Production Designer, helps determine the look of a film. This course is designed to introduce students to the technical and aesthetic fundamentals of creating, developing, and collaborating on the visual elements of storytelling, using camera framing, lensing, and lighting fundamentals such as shadows, light and color.
Prerequisite: 2525.
2525.
Video Production II.
(3)
An in-depth exploration of digital video production, including camera, lighting and sound production techniques for studio and field production. This class will help the filmmaker visualize and execute a digital film in a real-world team environment.
Prerequisite: 1210.
2530.
Introduction to 3D Modeling.
(3)
This course will introduce 3D modeling methods and current practices. Students will learn preliminary and detailed modeling techniques using industry standard software. Methods will emphasize formal and functional aspects of modeling as they apply to mechanical, organic, and sculpted topology for application in animation, games, and information media.
2610.
Directing I.
(3)
Introduction to the creative process of a film director. Students will participate in hands-on workshops and develop stories for motion media, create screenplays and work with actors in short scenes using current technologies in film, television and web-based media production.
Prerequisite: 1210 and (310 or 324).
2768.
Introduction to Game Development.
(3)
In tandem with innovations of modern computing machines, people have been devising ways to "play" with these systems through programming games on these devices. Video games have matured into an expressive medium rooted in using algorithms as the means for constructing interactive experiences. Building these games requires an understanding on principles of interactive design, computer science, and storytelling.
Prerequisite: CS 105L or CS 152L.
2714.
Introduction to Animation.
(3)
This course will be entirely focused on laying the foundation of animation around the twelve principles of animation as defined by Disney master animators Frank Thomas and Ollie Johnston.
2996.
Topics.
(1-6, no limit Δ)
A course exploring a topic not covered by the standard curriculum but of interest to faculty and students in a particular semester.
302.
Digital Game Design.
(3)
The philosophy of games, game design process, and player psychology. Includes the steps to designing a digital game, from concept and storyboarding to understanding the underlying technical mechanics.
303.
Moving Image Art.
(3)
Creative laboratory exploring aesthetic and theoretical issues relating to moving image art, new media technology, and the creative process. Critiques, technical instruction, and lectures on moving image art history and theory.
Prerequisite: 1210.
304.
Experiments in Cinema.
(3)
Work to produce an international, experimental film and video festival. Learn grant writing, the curatorial process, hospitality, promotion, public relations, and the history of film festivals.
310.
Writing Digital Narrative.
(3)
The goal of this course is to offer students an overview of issues on writing for digital media; its objective is to create successful, media-savvy writers, who work across digital platforms.
311.
Fundamentals of Music Technology.
(2-3)
(Also offered as MUS 311 / 511)
A hands-on introduction to various computer applications useful to musicians in all areas of specialization. Various computer programs aiding in music notation, arranging and MIDI composition will be presented and explored.
313 / *413.
Avant-Garde Film History.
(3)
Looks at major trends in avant-garde, experimental, and underground filmmaking movements and the artists working outside the boundaries of institutionalized cinema to explore new perceptual frontiers.
314 / *414.
History of Animation.
(3)
Traces the development of animation from its earliest filmic examples to the present day, including technological advancements and aesthetic shifts. Covers celluloid, stop-motion, and computer animation history.
324.
Introduction to Screenwriting.
(3, may be repeated once Δ)
(Also offered as ENGL 324)
Writing workshop on basics of character structure, scenes, visualization, and good old story telling as it applies to the screenplay. Students read scripts, watch film clips, and begin writing an original screenplay.
326 / *426.
History of Film I.
(3)
History of the motion picture from its beginnings to the era of sound. Screening and analysis of major films. Special fee required. May not receive credit for both 326 and *426.
Prerequisite: 2110.
327 / *427.
History of Film II.
(3)
History of the motion picture from the advent of sound to the present day. Screening and analysis of major films. Special fee required. May not receive credit for both 327 and *427.
Prerequisite: 2110.
330.
Studies in Film.
(3, no limit Δ)
Studies in film and video genres, regional and national cinemas, and the work of individual artists. Special fee required. May be repeated if subject matter varies.
331 / *431.
Film Theory.
(3)
A lecture survey of major currents in film theory from film’s beginnings to the present. Screening and analysis of major films. May not receive credit for both 331 and *431. Special fee required.
Prerequisite: 2110.
332 / *432.
Documentary Film History and Theory.
(3)
History and theory of documentary, with emphasis on how this knowledge is applied in the making of a documentary. Screenings of work by Robert Flaherty, Trinh T. Minh-ha, and others. Special fee required.
334 / *434.
Teen Rebels.
(3)
An examination of Hollywood films of the 1950s, ’60s and ’70s, whose youthful main characters challenge convention and authority. Special fee required.
335 / *435.
International Horror Film.
(3)
A study of major horror films from various countries, with related readings in fiction, philosophy, psychology, and film studies. Classics such as Nosferatu and Frankenstein are screened. Special fee required.
336 / *436.
Images of Womxn.
(3)
Our study will regard films about women, men, and everybody else. With feminism, queer theory, critical race studies, and transgender film theory, we’ll consider cinema from “women’s pictures” to films about the permutations of gender. Special fee required.
337 / *437.
Alfred Hitchcock.
(3)
An exploration of cinematic suspense, surprise, and shock in relation to Hitchcock’s cinema. Special fee required.
339.
Russian Culture and History through Film.
(3)
(Also offered as HIST 335; RUSS 339)
In this course we study films and read secondary sources from the Soviet and post-Soviet eras (with English subtitles) and examine how they comment on current Russian social and cultural issues. Taught in English. Special fee required.
350.
Advanced Screenwriting.
(3)
A continuation of Introduction to Screenwriting, this course is a workshop designed to assist the writer in completing scripts for a feature film, two episodes of a television series, or a series of short films.
Prerequisite: 324 or ENGL 324.
375.
Producing for Film and Digital Media.
(3)
(Also offered as ALBS 375)
Students will learn roles of the motion picture producer, acquiring the skills to produce a film or digital media project. Includes choosing a viable project and optioning, developing and preparing for pre-production, production, and post-production.
390.
Topics in the Elements of Filmmaking.
(3, no limit Δ)
Practicum in basic conceptual aspects of independent filmmaking. Each student creates cinematic work in this course. Special fee required.
391.
16mm Filmmaking.
(3 to a maximum of 6 Δ)
This course provides an introduction to basic 16mm filmmaking techniques, with an emphasis on film as a creative art form. Students take up all aspects of filmmaking, from pre-production planning through the final edit. Special fee required.
*401.
Digital Post Production.
(3)
Designed to expand awareness of the elements of film and video post-production, with emphasis on expanding skills as an editor. Develops competence with tools to practice the art of the editor effectively.
Prerequisite: 1210.
*402.
Documentary Film Production.
(3)
Hands-on workshop introduces tools and methods of video making in the genre of "creative nonfiction". Emphasizes development of personal approaches to the creative process, technical skills, and familiarity with the documentary form.
Prerequisite: 1210.
*403.
Advanced Game Development.
(3)
Expands on ideas developed in the introductory course, including new techniques and tools for game development. Students work in collaborative, interdisciplinary game development teams.
Prerequisite: 2768.
*404.
Animation II.
(3)
Analyze and implement correct physical movement of the human body using animation software. Create solid, finished looking animation for bipedal characters with believable and meaningful performances, including facial animation and speech.
Prerequisite: 2714.
*405.
Advanced Maya Production.
(3)
Production ready techniques in 3D Computer Graphics and Visual Effects creation, including advanced modeling, rigging, animation, camera mapping and projection, and rendering and compositing using Maya.
Prerequisite: 2530.
*406.
Virtual Reality Cinema.
(3)
The basics of virtual reality cinema, game building, user experience design, how to make spherical videos for use in virtual reality head mounted displays, and how augmented reality apps work.
Prerequisite: 1210.
*407.
Compositing for Visual Effects.
(3)
The basics of digital compositing, the art of combining and manipulating images for CGI, special effects, and animation.
*409.
Advanced Video Art.
(3, may be repeated once Δ)
This class helps students to develop more complex artistic statements on video. Critiques of student work, plus readings and discussions about various arts and media. Special fee required.
Prerequisite: 303.
*410.
The Business and Law of Film and New Media.
(3)
This course will introduce students to the business and legal aspects of creating a new digital media venture including: concept formation; marketing; budget development; finding financing; forming a company; hiring and managing employees; and sales.
Restriction: junior or senior standing.
*411.
Advanced Cinematography.
(3)
Work with modern digital professional camera systems, building an understanding of cinematographic techniques, practices, and aesthetics. Use light, color, camera movement, composition, and lens selection to develop cinematic emotions.
Prerequisite: 2520.
412.
Fundamentals of Audio Technology.
(2-3)
(Also offered as MUS 412 / 512)
Audio editing and equipment and basics of recordings through lab experiences and creative projects. Includes fundamentals of the physics of sound and analysis.
*413 / 313.
Avant-Garde Film History.
(3)
Looks at major trends in avant-garde, experimental, and underground filmmaking movements and the artists working outside the boundaries of institutionalized cinema to explore new perceptual frontiers.
*414 / 314.
History of Animation.
(3)
Traces the development of animation from its earliest filmic examples to the present day, including technological advancements and aesthetic shifts. Covers celluloid, stop-motion, and computer animation history.
*415.
Animation III.
(3)
Use animation software to create facial animations and speech for single and multiple characters. Small animation and posing exercises will culminate in the creation of full acting performances to pre-recorded dialog.
Prerequisite: 404.
*416.
Advanced Post Production.
(3)
Develop advanced film and video post production skills with an emphasis on color grading, sound mixing and mastering, and visual effects.
Prerequisite: 401.
*426 / 326.
History of Film I.
(3)
History of the motion picture from its beginnings to the era of sound. Screenings and analysis of major films. Special fee required. May not receive credit for both 326 and *426.
Prerequisite: 2110.
*427 / 327.
History of Film II.
(3)
History of the motion picture from the advent of sound to the present day. Screenings and analysis of major films. Special fee required. May not receive credit for both 327 and *427.
Prerequisite: 2110.
*429.
Topics in Production.
(1-3, no limit Δ)
Workshops in specific production topics conducted by guest artists in film and video as their schedules permit. May be repeated if subject matter varies. Special fee required.
Prerequisite: 1210.
*430.
Topics in Film History.
(3, no limit Δ)
Studies in film and video genres, regional and national cinemas, and the work of individual artists. Special fee required.
May be repeated if subject matter varies.
*431 / 331.
Film Theory.
(3)
A lecture survey of major currents in film theory from film’s beginnings to the present. Screening and analysis of major films. May not receive credit for both 331 and *431. Special fee required.
Prerequisite: 2110.
*432 / 332.
Documentary Film History and Theory.
(3)
History and theory of documentary, with emphasis on how this knowledge is applied in the making of a documentary. Screenings of work by Robert Flaherty, Trinh T. Minh-ha, and others. Special fee required.
*434 / 334.
Teen Rebels.
(3)
An examination of Hollywood films of the 1950s, ’60s and ’70s, whose youthful main characters challenge convention and authority. Special fee required.
*435 / 335.
International Horror Film.
(3)
A study of major horror films from various countries, with related readings in fiction, philosophy, psychology, and film studies. Classics such as Nosferatu and Frankenstein are screened. Special fee required.
*436 / 336.
Images of Womxn.
(3)
Our study will regard films about women, men, and everybody else. With feminism, queer theory, critical race studies, and transgender film theory, we’ll consider cinema from “women’s pictures” to films about the permutations of gender. Special fee required.
*437 / 337.
Alfred Hitchcock.
(3)
An exploration of cinematic suspense, surprise, and shock in relation to Hitchcock’s cinema. Special fee required.
450.
Capstone I: Senior Film Projects.
(4)
Students are required to form interdisciplinary collaborative teams that will develop and plan project ideas.
Prerequisite: (2520 or 2610 or 303 with a minimum grade of "B") and 2525 with a minimum grade of "B" and (310 or 324 with a minimum grade of "B") and *401 with a minimum grade of "B".
Restriction: admitted to B.F.A. Film and Digital Arts; and senior standing; and permission of department.
451.
Capstone II: Senior Film Projects.
(4)
Collaborative teams execute projects and give open demonstration of the results.
Prerequisite: 450.
Restriction: admitted to B.F.A. Film and Digital Arts; and senior standing; and permission of department.
452.
Capstone I: Senior Gaming Projects.
(4)
Students are required to form interdisciplinary collaborative teams that will develop and plan gaming project ideas. For students in the B.A. Film and Digital Arts concentration in Gaming.
Prerequisite: 302 with a minimum grade of "B" and (310 or 324 with a minimum grade of "B") and *403 with a minimum grade of "B".
Restriction: admitted to B.A. Film and Digital Arts; and senior standing; and permission of department.
453.
Capstone II: Senior Gaming Projects.
(4)
Collaborative teams execute gaming projects and give open demonstration of the results. For students in the B.A. Film and Digital Arts concentration in Gaming.
Prerequisite: 452.
Restriction: admitted to B.A. Film and Digital Arts; and senior standing; and permission of department.
454.
Capstone I: Senior Animation Projects.
(4)
Students are required to form interdisciplinary collaborative teams that will develop and plan animation project ideas. For students in the B.A. Film and Digital Arts concentration in Animation.
Prerequisite: (310 or 324 with a minimum grade of "B") and *404 with a minimum grade of "B" and *405 with a minimum grade of "B".
Restriction: admitted to B.A. Film and Digital Arts; and senior standing; and permission of department.
455.
Capstone II: Senior Animation Projects.
(4)
Collaborative teams execute animation projects and give open demonstration of the results. For students in the B.A. Film and Digital Arts concentration in Animation.
Prerequisite: 454.
Restriction: admitted to B.A. Film and Digital Arts; and senior standing; and permission of department.
*485.
Problems in Interdisciplinary Studies.
(3 to a maximum of 6 Δ)
(Also offered as ARTH, MUS 584)
An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts. Special fee required.
Restriction: permission of instructor.
*487.
Contemporary Interdisciplinary Topics.
(3, may be repeated once Δ)
(Also offered as ARTH, DANC, MUS, THEA 487 / 587)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. Special fee required.
Restriction: permission of instructor.
*491.
Topics in Film and Digital Media.
(1-3, no limit Δ)
This course allows permanent or visiting faculty to develop a course based on a topic related to digital media, and may include courses in career development for media industries.
492.
Film and Digital Arts Internship.
(1-12 to a maximum of 12 Δ)
Real-world experience for students to build film and digital media arts skills in the context of the organization's products or services. Students must possess minimum overall grade-point-average of 2.5 to enroll.
Offered on a CR/NC basis only.
Prerequisite: at least 9 credit hours in FDMA courses, with at least one FDMA 300-level course.
Restriction: admitted or preadmitted to B.F.A. Film and Digital Arts; and permission of department.
496 / 596.
Undergraduate Production Project.
(1-3 to a maximum of 24 Δ)
Film and Digital Arts majors undertake individual projects and internships that arise outside the boundaries of other FDMA production courses. The student will enlist the support of a department faculty member to enroll. Special fee required.
Restriction: permission of instructor.
497 / 597.
Undergraduate Independent Study.
(2-3 to a maximum of 24 Δ)
Individual investigation or reading, plus the writing of an essay, under faculty direction. Special fee required.
Restriction: permission of instructor.
499.
Honors Thesis.
(3-6 to a maximum of 6 Δ)
Directed independent study in a field of special interest, culminating in a written thesis and, if appropriate, a film or video project. Open only by invitation to department honors candidates. Special fee required.
596 / 496.
Graduate Production Project.
(1-3 to a maximum of 24 Δ)
Film and Digital Arts majors undertake individual projects and internships that arise outside the boundaries of other FDMA production courses. The student will enlist the support of a department faculty member to enroll. Special fee required.
Restriction: permission of instructor.
597 / 497.
Graduate Independent Study.
(2-3 to a maximum of 24 Δ)
Individual investigation or reading, plus the writing of an essay, under faculty direction. Special fee required.
Restriction: permission of instructor.
