Michael Feit Dougan
535 South Shore Center #144 ~ Alameda, CA 94501
Phone 510/681-1078
TEACHING and EDUCATION
Adjunct Professor: College of MArin - San Francisco  August 2010 – Presnt
Responsibilities Included: Class lecturing, supervising lab classes, office hours, grading homework,
running existing classes and the development of new courses and professional film-industry networking.
Screenwriting Fundamentals (COMM 161): This semester long 18 week course takes a professional
view of the classic screenplay structures from Aristotelian 3-act structure to Joseph Campbell’s “Hero’s
Journey” and two models for thematic tragedy. Class emphasizes the need for distinctive characters,
unique dialog, compelling motivation, the evolution of scene shape, and engaging plot lines all while
addressing the nature of conflict to arrive at clear and satisfying resolutions. It also introduces and trains
students towards the writing of industry standard “coverage” while utilizing conteprorary approaches of
literal criticism and analysis.
Directing Workshop – Merging Intuition and Technique: Presented in Partnership with AwardWinning Director, Domenica Cameron-Scorsese, through insider anecdotes, video examples, power point
and audience interaction, this seminar this workshop explores the seemingly contradictory philosophies of
heavy pre-production techniques adapting stories from script to stage before observing the intuitive organic
means of finding and filming emotional truth.
Adjunct Professor: UNIVERSITY OF SAN FRANCISCO - San Francisco  January 2006 – Presnt
Responsibilities Included: Class lecturing, supervising lab classes, office hours, grading homework,
running existing classes and the development of new courses and professional film-industry networking.
Screenwriting Fundamentals (MS 327): This semester long 16 week course takes a professional view
of the classic screenplay structures from Aristotelian 3-act structure to Joseph Campbell’s “Hero’s
Journey” and two models for thematic tragedy. Class emphasizes the need for distinctive characters,
unique dialog, compelling motivation, the evolution of scene shape, and engaging plot lines all while
addressing the nature of conflict to arrive at clear and satisfying resolutions. It also introduces and trains
students towards the writing of industry standard “coverage” while utilizing conteprorary approaches of
literal criticism and analysis.
Postmodern Screenwriting (MS 390): This semester long 16 week course selrves an an extension to
Screenwriting Fundamentals and a self-contained exploration of advanced writing techniques and
postmodern storytelling. Topics include the introduction of alternative formats for Television and
documentaries; the treatment of story space and time as characters; forms of dilemma and story
resolutions; and brief overview of screenwriting contracts, rights and the securing of agents.
Michael Feit Dougan – curriculum vitae/resume
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Distinguished Lecturer – BLUEGRASS COMMUNITY & TECHNICAL COLLEGE – Lexington, KY 
Jan. 2006 - Present
Responsibilities Included: The inception, design and implementation of three separate Masters Class
for the State of Kentucky in coordination with other Master’s Class professionals and instructors.courses
for Treatment Writing, Screenwriting Fundamentals and Gueilla Directing and Producing. Masters
Class responcibilities include in-class lecturing, lab/shooting supervision, grading homework, evaluation
of class effectiveness, writing Power Point lectures, and producing multi-media example DVD’s.
Structuring the Treatment – This week-long sixteen-hour Master’s Class introduces three ActStructure, the 40-Point system for story generation, over-all story grammar, story approaches for
Aristotelean Arc, Hero’s Cycle and Plot and charater driven Tragedy, individual workshopping,
culminating with the completion of a 7 – 15 page treatment for a feature-length narrative motion picture.
Screenwriting Fundamentals – This week-long sixteen-hour Master’s Class presents essential elements
for the writing of screenplays consisting of the use of “industry standard” formatting, pitching
techniques, character generation, the application of escalation and conflict, story choices and resolutions
culminating with the completion of a short subject narrative script ready for breakdown.
Directing From Story Through Storyboard – This week-long sixteen-hour daily course introduces
students guides students form the page to the soundstage beginning with the establishment of directing
worldviews then revealing concepts essential for motion picture pre-production including the use and
design of storyboards, floor plans, shot lists, script-lining and basic six point lighting, culminating with
the generation of a Director’s handbook for the production of one narrative short subject ready for
production.
Distinguished Lecturer – KENTUCKY FILM LAB – Louisville, KY  Sept.. 2004 - Present
Responsibilities Included: The development of seminar materials in respect to screenwriting and lowbudget directing, Seminar presentations, Field production supervision, Lab operations, the development
of new courses and professional film-industry networking. Seminar topics have ranged from six-point
lighting, formulating the director’s handbook, beginning screenplay overview, Intermediate conflict and
turn arounds, the Advanced screenwriter’s laboratory co-chaired by screenwriters Mark Shepherd
(Ground Control) and Jack Epps Jr. (Annaconda, Top Gun, Dick Tracy, Turner & Hooch) and an
opening lecture on Story Endings in Science-Fiction and Avatar, predeing producer Jon Landau (Titanic,
Avatar)
Distinguished Lecturer – SCARY COW FILM COLLECTIVE – San Francisco, CA  Aug. 2007 Present
Seminars Include:
Pitching for Professionals and Producers: Pitching for Professionals presents a series of techniques to
condense stories to their most essential and exciting elements in preparation to sharing them with other
creative individuals. A variety of story categories and alternate structures are introduced and explored.
Pitching for Producers includes approaches on how to best pitch a proposed company, creative
individuals, an existing work and a slate of projects.
Michael Feit Dougan – curriculum vitae/resume
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SCARY COW FILM COLLECTIVE – Continued
Running the Set – an A.D.’s “A, B, C’s”: This two-part seminar introduces the in’s and out’s of
Assistant Directing enmphasizing micro- to no-budget tactics. Topics include clocking the set, working
the strip board, assembling the Day-of-Days, call sheet design, working through chain-of-comand,
applying story boards, set etiquette and safety.
The Short Subject Development Round-Table: Focusing on the work and responsibilities of the lowno-budget director, this two-part seminar traces the art and science behind movie directing from
conceptual theories to practical application stressing the techniques of Mastershot-Coverage and Triad
style shooting. The seminar addresses the translation of the word to the screen by way of storyboard
design, script lining, floorplan diagrams, and shot lists.
Visiting Lecturer: San Francisco Film Society - San Francisco  March, 2008- Present
Directing Workshop – Merging Intuition and Technique: Presented in Partnership with AwardWinning Director, Domenica Cameron-Scorsese, through insider anecdotes, video examples, power point
and audience interaction, this seminar this workshop explores the seemingly contradictory philosophies of
heavy pre-production techniques adapting stories from script to stage before observing the intuitive organic
means of finding and filming emotional truth.
Pitch Masters: This two-part seminar combines practical pitching experience with the theory and
history behind the verbal presentation of story. Part One reveals the engaged to condense stories to their
most essential and exciting elements. A variety of story categories and alternate structures are
introduced and explored including approaches on how to best pitch a proposed company, creative
individuals, an existing work and a slate of projects. Part Two uses a round table approach to workshop
the participant’s projects and provides a panel of professionals to hear and guide the process.
Screenwriting Lecturer: FILM ARTS FOUNDATION - San Francisco  Nov., ‘97 – 2008
Responsibilities Include: 2006 Redesign of the screenwriting track of seminars and classes, Class
lecturing, one-on-one script consultation, evaluating exercises, developing new classes, running and
maintaining the below classes:
The 48-Hour Treatment guides students through a variety of writing exercises and techniques to create
a completed 7-15 page feature motion picture treatment within a 48-hour time-frame based on a unique
40 point approach published in Developing Digital Short Films.
Scripts Stripped – This weekend primer for beginning screenwriters explores the function and
relationships of Character, Plot, Theme and Conflict; introduces essential historical and theoretical
references; all while providing a practical approach to strip away the myth and mystery of screenwriting.
Short Screenplays - In addition to introducing beginning screenwriting fundamentals, this 6-week
course focuses on independent screenplay writing with an emphasis on personal subjects and modest
budgets in 30 pages or less.
Michael Feit Dougan – curriculum vitae/resume
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FILM ARTS FOUNDATION – Continued
Screenwriting Fundamentals - This concentrated ten-week course takes a professional view of the
classic screenplay structures from Aristotelian 3-act structure to Joseph Campbell’s “Hero’s Journey”
and up to four models for thematic tragedy. Class emphasizes the need for distinctive characters, unique
dialog, compelling motivation, the evolution of scene shape, and engaging plot lines all while addressing
the nature of conflict to arrive at clear and satisfying resolutions.
Intermediate Screenwriting – This concentrated ten-week course explores the advanced applications of
classic film writing while introducing more advanced post-modern techniques including: overcoming the
development department; directing templates for script writing – master scene vs. shooting script;
adaptation from existing works; post-modern story construction – from the ensemble piece to the “city
symphony” to alinear plotting and plot resolution as applied by the Semiotic Square.
Screenplay Structure – This concentrated eight week course offers an intensive overview and
exploration of the art of feature narrative structure combining the content of the 48-Hour Treaatment Act formation, story grammar and a 30-point story generation system - with the Structural elements,
from Screenplay Fundementals – Aristotelean Plotting, Campbell’s Hero’s Journey approach, and the
two forms of Tragedy – Character and Plot driven - culminating with the in-class completion of on 7 –
15 page motion picture treatment for a feature-length narrative.
Screenplay I – This intensive eight week course presents the essential screenwriting skills drawing from
and amplifying materials from both Screenwriting Fundemntals and Intermediate Screenwriting
emphasizing industry standard practices and classical techniques including formatting, story escalation
vs. turn arounds, character generation through backstory, motivation and goals, story choices and
resolutions. – culminating with the completion of the first half of a feature length narrative screenplay.
Screenplay II – This accelerated eight week course is a continuation of Screenplay I and draws from
and expands on concepts ffom both Screenwriting Fundementals and Intermediate Screenwriting
emphasizing a post-modern approach and expands the possibilities of screenwriting to include elements
of interactive game design, trailer writing, and documentary writing as well as writing for ensembles,
story adaptation, and advanced applications of story time and space, culminating with the conclusion of
the screenplay began in Sceenplay I.
Professor of Digital Motion Pictures – COGSWELL COLLEGE – Sunnyvale  May 1999 – August 2005
Responsibilities Included: Class lecturing, supervising lab classes, office hours, grading homework,
developing new classes and writing extended course outlines, designing course curricula, recruiting,
Universal Studios/Cogswell College liaison, Stan Winston/Cogswell College liaison, student advising,
internship coordinator, Associated Student Body faculty advisor, professional development committee
chair, scholarship committee member, student works committee member, committee member for various
senior thesis projects. Faculty Senate Vice-President for the 2004 – 2005 academic years.
Michael Feit Dougan – curriculum vitae/resume
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COGSWELL COLLEGE – Continued
Motion Picture Theory (DMP 200) – Personally developed and introduced to offer an analytical and
theoretical exploration of the art, science and business of motion picture production. Section one
introduces students to the science of motion picture perception then explores the construction of motion
pictures language through shot composition, content organization, sound design, aesthetic design and
acting. Section two deconstructs meaning through a variety of theories addressing issues of race, gender,
politics, religion, culture, art, historiography, and business.
Beginning Screenwriting (DMP 227) – This class joins the methods of a English class with Motion
Picture sensibilities introduces an approach to screenwriting as literature, in addition to presenting a
practical framing structure for mainstream and independent narrative motion pictures. Featured lectures
include: the principles of Aristotelian character and Story Arc, Joseph Campbell’s Hero’s Journey;
Northrop Frye’s Anatomy of Criticism; thematic tragedy from Sophocles to Schrader, treatment
construction, project pitching, and the art and evolution of cinematic dialogue and monologue. Finals
works include eight 5-page exercises, one completed and one polished short subject (30 pages) script.
Advanced Screenwriting (DMP 427) – This class was originated, designed and developed for
Cogswell College to explore the practical applications of advanced film writing concepts including such
topics as: a linguistic approach to plotting, introducing development department coverage, dissecting
two templates for script writing – master scene vs. shooting script, adopting adaptation techniques for
existing works, fashioning the ensemble pieces and exploring the component protagonist. Other lectures
identified the relationship of binary conflict to story resolution as applied by the Semiotic Square,
compared classic to post-modern to interactive storytelling models, introduced alternative plot models
such as the “mock-umentary” and “City Symphony”, approached backwards plotting to and from story
turn-arounds, took new approaches to the presentation of post-modern time and space. All students
completed the first draft of a feature length script and made a verbal and written author’s presentation in
addition completing a one three-page impromptu writing exercise each class.
Directing Fundamentals (DMP 325) – Personally designed and developed to serve as an introduction
for student motion picture makers to art and skill of motion picture directing. Concepts include
introductions to and exercises in story interpreting from the script to the screen, the techniques and
purpose of scene shot lists, the function of storyboards, and the designing of diagrams for lighting,
camera, power and actor placements and movements. Also included are observations on directing for
the editing room and directing actors for the camera in line with Screen Actor’s Guild of America
guidelines. The class culminates in the production of one short 3 – 7 minute scene per student in class.
Pre-Production Planning (DMP 375) – Personally designed and developed to present an introductory
overview of the art and business of producing short subject digital motion picture projects – both from a
mainstream and low-budget guerrilla style perspective. The culmination of this project-oriented class is
the documented pre-production planning for a 10 – 20 minute short subject to be produced by each
student the following trimester. Student Production workbooks include project strategies for production,
as well as the business, marketing, financing and distribution of their proposed project. The workbooks
also include an executive summary, the project script and a complete production breakdown.
Michael Feit Dougan – curriculum vitae/resume
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Cinema Adjunct: SAN FRANCSICO STATE UNIVERSITY - San Francisco  Sept., ‘98 – June 01
Responsibilities Included: Class lecturing, supervising lab classes, grading homework, and originating
classes, as well as the running and maintenance of the below classes.
Shadow Crew Directing Class (CINE 509) – This class was designed and developed class in
conjunction with Jameson Goldner expressly as an introduction to CINE 510 – Directing. The structure
of this lecture-only class followed that seen above in the Directing Fundamentals, but also included a
historical and critical perspective on the art of directing in place of the practical
Substitute Screenwriting Instructor (CINE 535) – Lectures have included: the principles of
Aristotelian character and story arc; Joseph Campbell’s hero’s journey; formation and formula for
successful treatment writing; and the uses and structure of film pitches.
STORY DEVELOPMENT
Private Script Consultant:
Coached clients to develope the commercial, creative and entertainment value of stories and/or projects
to meet with the owners expectations for audience reactions. Responsibilities include script and
structural analysis, delivering coverage, story recommendation and project writing. Clients include:
Yun Suh (City of Borders, 2009) Jeff Allard (Texas Chainsaw Massacre, Bled - 2003), Harry Max
(Dreamworks/PDI), Iain McCaig, (concept designer for Star Wars episodes I, II, III), Debbie Brubaker
(The Darwin Awards) Brian Chandler (Chandler Media), and Colin Hodges (Avid Systems), Clearwater
Films (Rage to Reason), Dunboy Entertainment (The Valentine’s Day Special) Heads Will Roll
Productions (Foucault Who?), and Bandito Productions (Pimpin’ Fruit), Ed Smith (Surviving Guthrie)
Advisory Board Member
Kentucky Film Lab
This nonprofit motion picture group is dedicated to the progressing development, production and
distribution of Kentucky-based motion picture works in addition to creating a vibrant and self-sustaining
motion picture industry infrastructure for the Commonwealth of Kentucky. Responcibilities include
designing and leading the creation of the Kentucky Screenwriting Masters Classes through BCTC,
designing and contributing to the Kentucky Bluegrass Screenwriting retreat and the Kentucky Script to
Screen Project.
Private Script Consultant:
Coached clients to develope the commercial, creative and entertainment value of stories and/or projects
to meet with the owners expectations for audience reactions. Responsibilities include script and
structural analysis, delivering coverage, story recommendation and project writing. Clients include:
Domenica Cameron-Scorsese (Roots in Water), Yun Suh (City of Borders, 2009) Jeff Allard (Texas
Chainsaw Massacre, Bled - 2003), Harry Max (Dreamworks/PDI), Iain McCaig, (concept designer for
Star Wars episodes I, II, III), Debbie Brubaker (The Darwin Awards) Brian Chandler (Chandler Media),
and Colin Hodges (Avid Systems), Clearwater Films (Rage to Reason), Dunboy Entertainment (The
Valentine’s Day Special) Heads Will Roll Productions (Foucault Who?), and Bandito Productions
(Pimpin’ Fruit), Ed Smith (Surviving Guthrie, – 2009)
Michael Feit Dougan – curriculum vitae/resume
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Bay Area Writer’s Group
This on-going week.ly group follows a collective “television bullpen” approach towards the
development of new works and the polishing of existing projects. All members work towards making
each individual work both creatively satisfying and commercially viable. Former students have sold
scripts, options, directed features and short subjects and won various international awards and grants.
Seminars, Lectures and Personal Appearances
Individual Seminars, personal Appearances and Lecture series have been delivered emphasizing the
many aspects of Motion Picture Making including: writing, producing and directing. Engagements have
included: The Kentucky Idea Festival: Kid’s Fest (* Keynote Speaker), The San Francisco Film Society,
The Mill Valley Film Festival, The Sacramento Film Festival, the Tiburon International Film Festival,
The San Francisco Black Film Festival, The Kentucky Ideafestival, The Kentucky Kids’ Fest (* Keynote
Speaker), The Kentucky Film Lab, Georgetown College, Mills College, San Francisco State University,
Sacramento Tower of Youth Program, Medium Rare (Public Access), Emeryville Borders Books’
Screenwriting Group, and the Bay Area Screen Actor’s Guild.
PUBLISHING
Author and Editor
 “From End to End: The Creative Compass”, Now Write!: Screenriting Exercises by Today’s Best
Screenwriters, Teachers and Consultants, Author, Tarcher/Penguin, (January 2011).
 Developing Digital Short Film, Co-Author and Technical Editor, New Riders Publishing (March
2004).
 ESL Newsworld, Freelance Writer - Teresa Perrin, editor. (1992 - 1994)
MOTION PICTURE INDUSTRY
Director of Development
21st CENTURY PICTURES GROUP INC.: Aug., ‘98 – Jan. ’02: Oversaw the selection, acquisition,
development and production of feature motion picture Making Metamorphosis. Daily responsibilities
included managing script readers; reading and evaluating scripts, treatments, pitches and story ideas;
generating and editing story coverage and analysis; negotiating script contracts; writing and re-writing.
Story Analyst
GIBRALTAR RELEASING ORGANIZATION - Los Angeles  Sept. ’92 - Oct. 93: Evaluated creative and
commercial potential of feature and television scripts. Wrote coverage. Attended and contributed to
story meetings.
Michael Feit Dougan – curriculum vitae/resume
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PRODUCTION CREDITS
Motion Picture:
Feature Films: Contained (in Development – Writer) Chandler Media, Surviving Guthrie (Story
Consultant), Blinder (Writer) Milwaukee Productions PTY LTD, City of Borders (Story
COnsultant), Bled (Assistant Director) Fat Kid Films, Anarchy Ahead (In Post-Production –
Director of Photography and Producer) and Making Metamorphosis (Editor and Producer) 21st
Century Pictures Group. Public Access (Co-Writer); Bryan Singer Productions. Killing Jar, (CoWriter, Assistant Director) Shadows and Light Productions. The Drayman and the King,
(Assistant to the Director) Mosfilms – USSR.
Short and Industirals: Monetizing Your Passion (Technical Director - in Post-Production) Wow Is Me,
LLC; From Ideology to Inclusion – Educational Series (Technical Director - in Post-Production)
California Allience for Family and Children, Might Makes Right (Writer) Rendertree
Entertainment, Mo (2006) (Writer and Co-Producer) The Valentine’s Day Special (2005)
(Producer-Asistant Director-Story Consultant) Cogswell College Student Shorts (Producer - Over
100 between May of 1999 and August of 2005); Road Rage (2004), I/O Error (2001) and In This
Corner (1994) (Writer, Director, Producer); Archimedes Productions. Ugolino (1998) (Director),
Archimedes Productions. Klaus Mann’s Epitaph (2001) (writer), Public Image (1995) (writer,
assistant director) Aquarius Productions.
Television: “Nothing is Black and White” and “The Crocodile” (Writer) - Syndicated TV series
“Okavango” – Gibraltar Releasing..
Music Videos: “Trannyshack – Closing Night Gala” (Camera Operator) “Mouth2Mouth – Behind the
Scenes” (Videoographer) “Let’s Get ‘Em Up” & “Special Lady” (Assistant Director, Associate
Producer), 21st Century Pictures Group.
Promotional Materials: “The Man Who Would be King” and “The Ninth Configuration” (writer,
producer), KTVU Channel Two – Oakland.
Industrial Video: “Landmark Entertainment” (Producer and Writer) “Universal Studio Effects
Presentation” (Producer) “BAT Personal Keyboards”, (Writer) Phobia Productions.
FESTIVALS, SCREENINGS and AWARDS
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2004 – 2005 Faculty Senate Vice-President.
2003 Cogswell College Presidential “Teacher of the Year” Award
2003 San Jose Mercury News “Teacher of the Week” Award – March 19th
2003 ASB “Teacher of the Year - Scholar Award” – Cogswell College
2003 Making Metamorphosis – San Francisco Black Film Festival
2003 I/O Error – Tibruon International Film Festival
2001 In This Corner – KTEH Video I program.
2001 Making Metamorphosis – Mill Valley Film Festival – opening weekend.
2001 Finalist Klaus Mann’s Epitaph – Medienstiftung Schleswig-Holstein (Germany)
1993 Winner “Best Picture” Public Access – Sundance Film Festival
1993 Nomination Waldo Salt Award - Best Original Screenplay
1990 George Cukor Scholarship - University of Southern California
Michael Feit Dougan – curriculum vitae/resume
EDUCATION
BA in Cinema-Television, University of Southern California - 3.49 g.p.a. Class of 1994.
MFA Candidate – Spalding University – Class of 2012
Referrences Available Upon Request
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