UCC/UGC/ECCC
Proposal for New Course
Please attach proposed Syllabus in approved university format.
1. Course subject and number: CMF 337
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Social and Behavioral Sciences
4. Academic Unit:
3
School of
Communication
5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning
Outcomes)
1. Through scene analysis, directing actor exercises, and projects students will practice the
concepts, techniques, and terminology of fiction film directing.
2. Students will pitch and present story ideas, as well as breaking down and analyzing a
script.
3. Students will cast, rehearse and direct actors on set & collaborate with a cinematographer
and editor through post-production.
4. By directing a final project, student will practice the expectations and demands of a
professional film director.
6. Justification for new course, including how the course contributes to degree program outcomes,
or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing
Effective Program Student Learning Outcomes).
This course has been offered twice as a topics course in the former EMF 405 Field Production
Topics to high success. It is a key component of our new track, Filmmaking, in our CMF major.
It is also a key course for our CMF 251/252 UTV production class, as well as the CMF 470C
capstone class.
7. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
8. Long course title: DIRECTING FICTION
(max 100 characters including spaces)
9. Short course title: DIRECTING FICTION
(max. 30 characters including spaces)
10. Catalog course description (max. 60 words, excluding requisites):
In this fiction directing class, students will apply your knowledge of filmmaking techniques
(cinematography, sound design, and editing) to fiction. Students will do script analysis,
among other exercises in visualizing the story through blocking (movement and body
language of performers). Final projects will integrate all of these elements in the creation of a
short film with multiple scenes.
Effective Fall 2012
11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)?
Yes
If yes, include the appropriate plan proposal.
Creative Media and Film; B.S.
No
12. Does this course duplicate content of existing courses?
Yes
No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why
NAU should establish this course.
13. Will this course impact any other academic unit’s enrollment or plan(s)?
Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response from
each impacted academic unit
14. Grading option:
Letter grade
Pass/Fail
Both
15. Co-convened with:
14a. UGC approval date*:
(For example: ESE 450 and ESE 550) See co-convening policy.
*Must be approved by UGC before UCC submission, and both course syllabi must be presented.
16. Cross-listed with:
(For example: ES 450 and DIS 450) See cross listing policy.
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
17. May course be repeated for additional units?
16a. If yes, maximum units allowed?
16b. If yes, may course be repeated for additional units in the same term?
Yes
No
Yes
No
18. Prerequisites:
CMF 235
If prerequisites, include the rationale for the prerequisites.
Students need the filmmaking techniques skills gained in CMF 235 in order to have the skills
to be successful in CMF 337.
19. Co requisites:
If co requisites, include the rationale for the co requisites.
20. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
Kurt Lancaster, Harun
21. Names of the current faculty qualified to teach this course: Mehmedinovich
No
22. Classes scheduled before the regular term begins and/or after the regular term ends may require
additional action. Review “see description” and “see impacts” for “Classes Starting/Ending
Outside Regular Term” under the heading “Forms”
Effective Fall 2012
http://nau.edu/Registrar/Faculty-Resources/Schedule-of-Classes-Maintenance/.
Do you anticipate this course will be scheduled outside the regular term?
Yes
No
23. Is this course being proposed for Liberal Studies designation?
If yes, include a Liberal Studies proposal and syllabus with this proposal.
Yes
No
24. Is this course being proposed for Diversity designation?
If yes, include a Diversity proposal and syllabus with this proposal.
Yes
No
Answer 22-23 for UCC/ECCC only:
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
Reviewed by Curriculum Process Associate
11/24/2014
Date
Approvals:
Department Chair/Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC Approval
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Approvals:
Effective Fall 2012
Date
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized
Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
Effective Fall 2012
PROPOSED SYLLABUS
COLLEGE OF SOCIAL AND BEHAVIORAL SCIENCES
SCHOOL OF COMMUNICATION
CMF 337 Directing Fiction
TIME: WED 4PM - 6:30PM@ COMM. 230 | FALL 2015 |
3 CREDITS
INSTRUCTOR: HARUN MEHMEDINOVIC |
HARUN.MEHMEDINOVIC@NAU.EDU | 1. 928.523.2976
OFFICE HRS: WED. 6:30-7:30PM@ COMM. 317 & BY
APPT.
COURSE DESCRIPTION
In this class the students will be introduced to concepts and techniques in fiction film directing from
script development through postproduction. Course fee required.
Prerequisites: CMF 235
LEARNING OUTCOMES
1. Through scene analysis, directing actor exercises, and projects students will practice the
concepts, techniques, and terminology of fiction film directing.
2. Students will pitch and present story ideas, as well as breaking down and analyzing a script.
3. Students will cast, rehearse and direct actors on set & collaborate with a cinematographer and
editor through post-production.
4. By directing a final project, student will practice the expectations and demands of a professional
film director.
COURSE STRUCTURE
The class will be conducted with a blend of lectures, workshops, exercises & critiques/discussions.
There will be weekly reading, viewing, writing assignments and/or shooting exercises. Students must
attend the class regularly, be involved in class discussions, turn assignments in on time, and be up to
date with readings.
For the final class project, students will work in groups to complete a short film, or a music video.
Note: Each group that registers and participates in NAU's 73-Hour Film Festival (which takes place
over the first weekend of November) will receive 100pts of extra credit, equivalent of a whole letter
grade. Once the groups are formed, register at: http://nau73hourfilmfest.weebly.com.
REQUIRED MATERIALS
EQUIPMENT:
1) STUDENTS CAN USE CANON C100S OR 5D MARK IIIS AVAILABLE FOR CHECKOUT
AT EMF EQUIPMENT OFFICE, COM 115
2) EACH GROUP MUST HAVE A 1TB OR LARGER CAPACITY HARD DRIVE FOR EDITING.
Books: Rabiger, Michael. Directing: Film Techniques and Aesthetics. Fifth Edition. Focal Press,
2013.
Effective Fall 2012
Mamet, David. On Directing Film. Penguin, 1991.
In Addition: Please upload all video materials to Youtube/Vimeo or bring them to class on a DVD,
USB Drive or Hard Drive. Final Project MUST be turned in as a full-resolution digital file in addition
to whichever way the group chooses to screen it.
Links to web resources that correspond to materials presented in the lectures will be provided to
students throughout the semester.
RECOMMENDED READINGS
Campbell, Joseph. “The Hero with a Thousand Faces.” Third Edition. New World Library, 2008
Egri, Lajos. “Art of Dramatic Writing Its Basis in the Creative Interpretation of Human Motives.”
Revised Edition. Simon & Schuster, 2004.
Martin, Reed. “The Reel Truth: Everything You Didn't Know You Need to Know About Making an
Independent Film”. Faber & Faber, 2009
Mckee, Robert. “Story.” Regan Books, 1997
COURSE OUTLINE
Week 1 | Introduction
Assignment: Self-Exploration Exercise
08.27.14 : What does a director do?
1) Each student will complete the exercise and
History of Directing & Auteur theory
bring it to next class for reading & discussion.
Current state of Directing
2) Read Rabiger pg. 1-74
Artistic Voice & Self Exploration
3) Read Mamet Chapters 1, 2 & 3
Week 2 | Discuss Self-Exploration
09.03.14: Exercises
Go over exercises.
Assignment: Read Screenplay Summaries
1) Read summaries of select CMF 129. 229 &
329 scripts.
2) Read Rabiger pg. 75-114
Week 3 | Form Groups & Directing the
09.10.14 : Script
Students will form groups around
specific screenplays & followed by
discussion of each script.
Breaking down a script
Directing notes
Assignment: Script Breakdowns
1) Each member of the group will break down
the script as if they were the director.
2) Read Rabiger pg. 115-212
Week 4 | Script Breakdowns
09.17.14 : Each student will present their
script breakdowns, followed by a
discussion.
Assignment: Character Profiles
Read Rabiger pg. 213-226
Week 5 | Directing the Actor: Casting &
09.24.14 : Fundamentals
Casting a film
Casting demonstration
Blocking
Text vs. Subtext
Assignment: Blocking/Acting Exercises
Each member of each group directs their own
version of a selected scene from the script,
these will be performed in the following class,
NOT filmed.
2) Read Rabiger 227-277
Effective Fall 2012
3) Read Mamet Chapters 4 & 5
Week 6| Directing the Actor: Wokshop
10.01.14 :
Assignment: Blocking/Acting Exercises
Each member of each group directs their own
version of a selected scene from the script,
these will be performed in the following class,
NOT filmed.
Week 7 | Directing the Actor: Workshop
10.08.14 :
Assignment: Read Rabiger pg. 283-312
Week 8 | Directing the Camera
10.15.14 : Camera placement & Lenses
Shooting Format & Aspect Ratio
choices
Working with Cinematographer
Equipment considerations
Assignment: Emulate a Director Exercise
1) Each student in each group will shoot the
same scene emulating a known directors' style.
Shoot, edit and present scene next class.
Week 9 | Directing the Camera: Workshop
10.22.14 :
Assignment: 1) FINAL week to decide on exact crew
positions, each group needs to have: Director,
Producer, Cinematographer, Editor/Sound
2) Shot List/Floorplans: Finish a shot list,
make sure each scene has proper coverage, but
not too many shots. No production day should
include more than 20-25 shots.
3) Shooting Script due.
2) Read Rabiger pg. 313-416
Note: Last week to register for NAU 73-Hour
Film Festival
Week 10 | Directing the Set
10.29.14 :
Assignment: 1) Read Rabiger pg. 417-446
Optional extra-credit: Participate in NAU's 73Hour Film Festival for a letter grade worth of
extra credit.
Week 11 | Directing the Edit
11.05.14 :
Assignment: This is a designated pre-production week
Final week to finish pre-production/preparation.
Week 12 | TBSD: To Be Student Determined Assignment: This is a designated production week
11.12.14 : Instructor will work with students to
determine the subject of the lecture
based on majority-consensus.
Week 13 | TBSD: To Be Student Determined Assignment: This is a designated production week
11.19.14 : Instructor will work with students to
1) Finish Rough Cut (Editor cut)
determine the subject of the lecture
2) Read: Rabiger pg. 447-452
based on majority-consensus.
Students may choose to screen
shooting dailies.
Week 14 | Rough Cut Screening
11.26.14 :
Assignment: This is a designated post-production week
1) Finish Fine Cut (Director & Editor cut)
2) Read: Rabiger pg. 453-478
Week 15 | Fine Cut Screening
12.03.14 :
Assignment: Finish the Final Cut
Effective Fall 2012
Finals | Final Cut Screenings @ 3:00pm
12.10.13 :
Note: Additional articles may be assigned for reading. Also, although unlikely, additional production exercises may
be assigned to the groups.
ASSESSMENT
Students will be assessed based on their understanding of the technologies and concepts covered in
class & how that understanding is reflected in their creative work. Final grade will largely reflect the
quality and sincerity of students' effort in this class.
Attendance & Participation – Students are expected to attend every lecture. Attendance will be
taken at the beginning of each class. Two unexcused absences will result in a one letter grade
decrease. In case of personal emergencies or sickness, please contact the instructor prior to class to
receive an excused absence. It is critical for students to attend in-class project presentations &
critiques, as they carry additional points towards the grade.
Script Breakdown - Pre-production document demonstrating the expected scheduling, budgeting,
and creative considerations.
Shot List/Floorplans - A precise shot list is expected as a collaboration of all team members, but
spearheaded by the director and the cinematographer, as well as corresponding floorplans indicating
camera positions, movement, blocking.
Exercises - Each member of each group will complete 2-3 directing exercises throughout the course
of the semester.
Final Project - Short film or music video should reflect a strong collaborative effort in which each
team member significantly contributed to the overall tone, feel and rhythm of the story. Each project
should be a cohesive story with a clear central idea, a beginning, middle, and an end. The aim of this
project is not perfect execution but a clearly demonstrated effort on the part of each team member to
tell a clear and strong story within the time and equipment constraints.
Note: More detailed rubric for each assignment may be given prior to due date. Each collaborative
project has an adjustment period as team members get on the same page, and this will be taken into
account during the assessment. However, any individual that consistently fails to collaborate and fulfill
their duties to the team & project will receive a failing grade in this class.
GRADING
Attendance & Participation 100pts (10%)
Script Breakdown 100pts (10%)
Shooting Script 150pts (15%)
Shot List/Floorplans 150pts (15%)
Exercises 200pts (20%)
Final Project- (Each Cut @ 100pts) - 300pts (30%)
Effective Fall 2012
A - 90-100%
B - 80-89%
C - 70-79%
D - 60-69%
F – BELOW 60%
COURSE POLICIES
 Filmmaking is a collaborative experience. This is a group-work class that requires team players.
Egos should be left at the door.
 100pt extra-credit: Participate in the NAU 73 hour festival: Nov 1-2th. Visit and register with your
group: http://nau73hourfilmfest.weebly.com
 Any problems and concerns within each group should be addressed with the instructor and not
left unresolved.
 No use of cell phones in class. No disruptive behavior. No chitchatting & raise hand
when wishing to address the class.
 Unexcused late work will not be accepted.
 An incomplete will not be given in this class except for extreme, verifiable emergencies
as approved by the instructor.
 Instructor reserves the right to alter the course outline at any time during the semester.
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS FOR COURSE SYLLABI
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy prohibits sexual harassment and assault, and
discrimination and harassment on the basis of sex, race, color, age, national origin, religion, sexual
orientation, gender identity, disability, or veteran status by anyone at this university. Retaliation of any
kind as a result of making a complaint under the policy or participating in an investigation is also
prohibited. The Director of the Office of Affirmative Action & Equal Opportunity (AA/EO) serves as the
university’s compliance officer for affirmative action, civil rights, and Title IX, and is the ADA/504
Coordinator. AA/EO also assists with religious accommodations. You may obtain a copy of this policy
from the college dean’s office or from the NAU’s Affirmative Action website
nau.edu/diversity/. If you have questions or concerns about this policy, it is important that you contact
the departmental chair, dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of
Affirmative Action (928) 523-3312 (voice), (928) 523-9977 (fax), (928) 523-1006 (TTD) or
aaeo@nau.edu.
STUDENTS WITH DISABILITIES
If you have a documented disability, you can arrange for accommodations by contacting Disability
Resources (DR) at 523-8773 (voice) or 523-6906 (TTY), dr@nau.edu (e-mail) or 928-523-8747 (fax).
Students needing academic accommodations are required to register with DR and provide required
disability related documentation. Although you may request an accommodation at any time, in order
for DR to best meet your individual needs, you are urged to register and submit necessary
documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR
is strongly committed to the needs of student with disabilities and the promotion of Universal Design.
Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to
the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
Effective Fall 2012
ACADEMIC CONTACT HOUR POLICY
Based on the Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-224), for
every unit of credit, a student should expect, on average, to do a minimum of three hours of work per
week, including but not limited to class time, preparation, homework, studying.
ACADEMIC INTEGRITY
Integrity is expected of every member of the NAU community in all academic undertakings. Integrity
entails a firm adherence to a set of values, and the values most essential to an academic community
are grounded in honesty with respect to all intellectual efforts of oneself and others. Academic
integrity is expected not only in formal coursework situations, but in all University relationships and
interactions connected to the educational process, including the use of University resources. An NAU
student’s submission of work is an implicit declaration that the work is the student’s own. All outside
assistance should be acknowledged, and the student’s academic contribution truthfully reported at all
times. In addition, NAU students have a right to expect academic integrity from each of their peers.
Individual students and faculty members are responsible for identifying potential violations of the
university’s academic integrity policy. Instances of potential violations are adjudicated using the
process found in the university Academic Integrity Policy.
RESEARCH INTEGRITY
The Responsible Conduct of Research policy is intended to ensure that NAU personnel including
NAU students engaged in research are adequately trained in the basic principles of ethics in
research. Additionally, this policy assists NAU in meeting the RCR training and compliance
requirements of the National Science Foundation (NSF)-The America COMPETES Act (Creating
Opportunities to Meaningfully Promote Excellence in Technology, Education and Science); 42 U.S.C
18620-1, Section 7009, and the National Institutes of Health (NIH) policy on the instruction of the
RCR (NOT-OD-10-019; “Update on the Requirement for Instruction in the Responsible Conduct of
Research”). For more information on the policy and the training activities required for personnel and
students conducting research, at NAU, visit: http://nau.edu/Research/Compliance/Research-Integrity/
SENSITIVE COURSE MATERIALS
University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In the
course of college studies, students can expect to encounter—and critically appraise—materials that
may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are
encouraged to discuss these matters with faculty.
CLASSROOM DISRUPTION POLICY
Membership in the academic community places a special obligation on all participants to preserve an
atmosphere conducive to a safe and positive learning environment. Part of that obligation implies the
responsibility of each member of the NAU community to maintain an environment in which the
behavior of any individual is not disruptive. Instructors have the authority and the responsibility to
manage their classes in accordance with University regulations. Instructors have the right and
obligation to confront disruptive behavior thereby promoting and enforcing standards of behavior
necessary for maintaining an atmosphere conducive to teaching and learning. Instructors are
responsible for establishing, communicating, and enforcing reasonable expectations and rules of
classroom behavior. These expectations are to be communicated to students in the syllabus and in
class discussions and activities at the outset of the course. Each student is responsible for behaving
in a manner that supports a positive learning environment and that does not interrupt nor disrupt the
delivery of education by instructors or receipt of education by students, within or outside a class. The
complete classroom disruption policy is in Appendices of NAU’s Student Handbook.
Effective Fall 2012
Effective Summer 2014
Approved UCC – 1/28/14
Approved UGC – 2/12/14
Effective Fall 2012