Summer in the City

Students select two courses, a morning class and an afternoon class to be attended Mondays, Tuesdays, Thursdays, and Fridays. On Wednesdays, students participate in our Beyond the Gates Series. 

Summer 2015 Pre-College Courses 

Choose an area of interest: 

Acting

Architecture

Art History

Environmental Science Filmmaking
History

Journalism

Literature

Neuroscience

Political Science Psychology
Religion

STEM

Studio Art Theatre Web Development Writing

Choose a class time (Morning or Afternoon)


Acting:

ACTING: PROCESS AND PERFORMANCE (CLOSED!)

Ari Kreith

Afternoon (2pm-4:30pm)

New York's vibrant theatre scene is in our classroom! Students will hone their acting technique while deepening their understanding of the process of developing plays. We will rehearse and perform monologues and scenes and have the option to write short plays and/or perform songs. These hands-on opportunities will alternate with trips to the theatre, a Broadway backstage tour, and visits from guest artists including actors, directors, and playwrights. Students may also perform monologues for their peers at the end of the summer at the PCP Festival of the Arts.

 

Architecture:

ARCHITECTURAL CULTURE AND NYC DESIGN STUDIO 

Marcelo Lopez-Dinardi

Morning (9:30am-12pm) 

Architecture is a key component of our built environment in many ways -- we live and work in buildingsArchitecture is the design that surrounds us, but also the relations between our hand-size design objects and our city-wide aspirations. This course will take the form of an architectural studio and seminar, with the fascinating city of New York as its context. We will have our own studio space at Barnard and will visit the city to confirm and test our in-house speculations. NYC will provide the background to develop a small project similar to those in an architectural studio course, and it will also be the place where we develop our sketchbooks, explore architecture with photography, and discuss our readings about architecture. No particular skills or previous knowledge is required to dive into the architectural culture and work within a studio environment.

 

Art History:

MASTERPIECES OF ART IN NEW YORK CITY (CLOSED!)

Kent Minturn

Morning (9:30am-12pm) 

This course will introduce students to some of the major works of Western Art currently located in New York. We will begin with the Greek period and conclude with the contemporary art scene in Chelsea. Slide lectures, class discussions, and readings will be supplemented with visits to New York City's world-renowned museums.

NY IN ART AND FILM 

Ted Barrow

Morning (9:30am-12pm) 

From its early days as a pre-Hollywood hub of film studios, New York City has played a central role in film in the 20th century, one which corresponds directly to the production of modern art.  In this course, comparisons between art-making and film-making will be made, while students will also be introduced to the core literature of modernist writing.  Breaking up into four different periods: 1890-The Great Depression, WWII-the early 60's, the 60's and 70's, and finally the post-modern era of art and film, each week will focus on a group of artists or directors (including D.H. Griffith, The Ashcan School, Diego Rivera, Sergei Eisenstein, Joseph Cornell, Andy Warhol, Martin Scorsese, and Julian Schnabel) who explore the intersection of art and film, particularly in New York City.

 

Environmental Science:

BSI: NEW YORK

Joe Liddicoat

Afternoon (2pm-4:30pm)

BSI: New York (Brownfield Site Investigation: New York) is a course in environmental discovery that combines scientific knowledge, constructionist education philosophy, and multimedia to explore a fictitious brownfield.  A brownfield is property that had prior industrial use that resulted in pollution of the property and surrounding region.  Central to the course is an innovative web-based simulation called Brownfield Action that was developed at Barnard and Columbia University and has a 10-year history of use by Barnard students and other students around the country.  Like real-world environmental consultants, you will develop and apply expertise from a wide range of fields, including environmental science, engineering, journalism, medicine, public health, law, civics, economics, organic and nuclear chemistry, and business management.  A directed reading of Jonathan Harr’s A Civil Action is the text for the course. 

 

Filmmaking:

SCREENWRITING: THE SHORT FORM (CLOSED!)

Helen Kaplan

Morning (9:30am-12pm) 

From film festivals to cell phones, short films are everywhere. This workshop will demystify the art of screenwriting and give you the tools you need to write a great short script. You will learn how to grab viewers by their collective shirt collar and, more importantly, hold their attention until the final credits roll. Emphasis will be placed on visual storytelling, the classic three-act structure, plot, character development, conflict, and dialogue. Through writing exercises, script analyses, and film screenings, students will learn the craft of screenwriting. By the end of the course, each student will have written three short screenplays as well as revised one of these scripts.

BEGINNING FILMMAKING: FROM SCRIPT TO SCREEN (CLOSED!)

Helen Kaplan

Afternoon (2pm-4:30pm)

This immersive filmmaking course will give you the tools you need to make a great short film. You will dream up screen stories and get your ideas down on the page during pre-production. You will shoot and direct your cast, bringing your words and images to life during production. And finally, you will edit your footage into an original short film during post-production. Since film is a collaborative medium, students will crew, act, produce, and shoot each other’s projects in order to experience all aspects of filmmaking. Using New York as both a set and a source of inspiration, students will also attend film screenings and visit organizations that promote and produce cinema. Previous experience shooting and editing is highly recommended.

 

History:

FROM CAMELOT TO NEW YORK CITY: KING ARTHUR THROUGH THE AGES

Gania Barlow

Afternoon (2pm-4:30pm)

The stories of King Arthur, his knights, and the women who love and hate them have been retold countless times, and in many genres, from the early Middle Ages through the present. Each age revises and “updates” the legends to fit its own fantasies, anxieties, and interests. In this course we will get a taste of the range of narratives about and inspired by Arthur—from the earliest brief references to an already ancient king in medieval historical chronicles, to contemporary visions of Arthur in New York City. Our readings and discussions will be enriched by field trips to the Cloisters Museum and the Metropolitan Museum of Art to explore medieval art and culture, as well as post-medieval artistic renderings of Arthur. In drawing out this long history of versions of Arthur, the course aims to highlight the continued importance and centrality of medieval literature, which is too often marginalized and misunderstood as a primitive product of “the Dark Ages.” As we discuss these versions of Arthur comparatively across time and genre, we will track not only the changes but also the continuities—the concerns and questions raised centuries ago that remain vitally important to humans of the 20th and 21st centuries.

NY IN ART AND FILM 

Ted Barrow

Morning (9:30am-12pm) 

From its earliest days as a pre-Hollywood hub of film studios, New York City has played a central role in film in the 20th century, one which corresponds directly to the production of modern art. In this course, comparisons between art-making and film-making will be made, while students will also be introduced to the core literature of modernist writing. Breaking up into four different periods: 1890-The Great Depression, WWII - the early 60's, the 60's and 70's, and finally the post-modern era of art and film, each week will focus on a group of artists or directors (including D.H Griffith, The Ashcan School, Diego Rivera, Sergei Eisenstein, Joseph Cornell, Andy Warhol, Martin Scorsese, and Julian Schnabel) who explore the intersection of art and film, particularly in New York City.

SEX AND BETRAYAL: THE RENAISSANCE TABOO

Benjamin Van Wagoner

Morning (9:30am-12pm) 

To know a culture, know what it’s afraid of. On the stages of London around 1600, any shoemaker could see a ‘Hells mouth’ and devils, murderous Moors like Othello, and the chilling witches of Macbeth, but these were spectacles, flourishes—just icing on the cake of the really unspeakable: taboos. Playwrights filled the seats with scandals that couldn’t be dealt with anywhere else: incest, treason, fratricide, rape, devil worship. An entire subgenre, the sex tragedy, emerged as a result of these otherwise unapproachable topics. Why? This course will approach English drama from the age of Shakespeare (1580-1620) as a way of understanding England's culture through the taboos its performers enacted on stage. This course will explore what it means to make something taboo (in 1600 and today) and will investigate the role of performance and drama in taboo-ifiying. How do we decide what is just ‘bad form,’ and what’s really unspeakably wrong? Do those unspeakable, unimaginable evils change over time, and if so, how? How can these things be performed onstage when they can barely be talked about? This course will include performance workshops, film screenings and (of course) readings of plays by Shakespeare and his contemporaries (Marlowe, Webster, Middleton, and Ford). We’ll also voyage downtown to attend at least one reading and one performance of plays from this period.

 

Journalism:

AMERICAN POLITICAL COMMUNICATION (CLOSED!)

Andi Dixon

Morning (9:30am-12pm)

This survey course addresses political communication in the American context. Students will examine the activities of keys political actors (elected officials, institutions, organizations, publics and the media) and will enjoy guided conversations drawn from key works in the field to assess how political actors use mediated public practices to bolster narratives, create consensus, and allocate power and resources. Major topics for consideration include: the public sphere and public opinion; propaganda and public relations; presidential rhetoric; electoral politics and campaigning; journalism, the news, political humor, and public life; research on media and new media effects; mediation of identity politics (age, religion, race, gender and sexual orientation); and, political advocacy, civic engagement, and social movements.

JOURNALISM AND POLITICS IN THE DIGITAL AGE  (CLOSED!)

Burcu Baykurt

Afternoon (2pm-4:30pm)

Digital technology is challenging and changing established journalistic and political institutions on a number of fronts, from the increasing use of data in journalism to the movements such as “Occupy” and the “Arab Spring” to the recent Snowden leaks. This course will explore the digital transformations in journalism and politics along with the consequences of our widespread use of the Internet. What constitutes journalism in an era when anyone with a phone camera and Internet connection can engage in those acts? What level of political knowledge and participation should we expect of citizens, and how do digital media facilitate those levels? This course will provide excellent preparation for students interested in journalism and media studies as well as related fields such as political communications and media policy. With visits to New York City-based newsrooms, digital media companies, and advocacy organizations, we will collectively chart out what kind of roles and responsibilities citizens have in the era of digital media and politics. 

 

Literature:

FROM CAMELOT TO NEW YORK CITY: KING ARTHUR THROUGH THE AGES

Gania Barlow

Afternoon (2-4:30pm)

The stories of King Arthur, his knights, and the women who love and hate them have been retold countless times, and in many genres, from the early Middle Ages through the present. Each age revises and “updates” the legends to fit its own fantasies, anxieties, and interests. In this course we will get a taste of the range of narratives about and inspired by Arthur—from the earliest brief references to an already ancient king in medieval historical chronicles, to contemporary visions of Arthur in New York City. Our readings and discussions will be enriched by field trips to the Cloisters Museum and the Metropolitan Museum of Art to explore medieval art and culture, as well as post-medieval artistic renderings of Arthur. In drawing out this long history of versions of Arthur, the course aims to highlight the continued importance and centrality of medieval literature, which is too often marginalized and misunderstood as a primitive product of “the Dark Ages.” As we discuss these versions of Arthur comparatively across time and genre, we will track not only the changes but also the continuities—the concerns and questions raised centuries ago that remain vitally important to humans of the 20th and 21st centuries.

LITERATURE AND LOVE IN WORLD RELIGIONS

Liane Carlson

Afternoon (2pm-4:30pm)

What is love?  Can a good action be motivated by desire?  Is it possible to know those we love, or is all love based on projection and self-deception?  If love requires lack or need, how can an all-powerful God love?  What makes love end?  These are some of the questions we will be asking in this interdisciplinary course about Christian, Hindu, Buddhist, Jewish, and Muslim understandings of love and desire in literature, art, film, philosophy, and economics.

SEX AND BETRAYAL: THE RENAISSANCE TABOO

Benjamin Van Wagoner

Morning (9:30am-12pm) 

To know a culture, know what it’s afraid of. On the stages of London around 1600, any shoemaker could see a ‘Hells mouth’ and devils, murderous Moors like Othello, and the chilling witches of Macbeth, but these were spectacles, flourishes—just icing on the cake of the really unspeakable: taboos. Playwrights filled the seats with scandals that couldn’t be dealt with anywhere else: incest, treason, fratricide, rape, devil worship. An entire subgenre, the sex tragedy, emerged as a result of these otherwise unapproachable topics.  Why? This course will approach English drama from the age of Shakespeare (1580-1620) as a way of understanding England's culture through the taboos its performers enacted on stage. This course will explore what it means to make something taboo (in 1600 and today) and will investigate the role of performance and drama in taboo-ifiying. How do we decide what is just ‘bad form,’ and what’s really unspeakably wrong? Do those unspeakable, unimaginable evils change over time, and if so, how? How can these things be performed onstage when they can barely be talked about? This course will include performance workshops, film screenings and (of course) readings of plays by Shakespeare and his contemporaries (Marlowe, Webster, Middleton, and Ford). We’ll also voyage downtown to attend at least one reading and one performance of plays from this period.

 

Neuroscience:

INTRODUCTION TO NEUROSCIENCE (CLOSED!)

Leigh Boyd

Afternoon (2-4:30pm) 

Ever wonder why your crazy Aunt Mary acts so out of it? Or why people get so addicted to cocaine and other drugs? Or why you always seem to forget things when you’re stressed? These questions have one thing in common: the brain. Our brains are complex systems that oversee almost every aspect of our lives, from basic functions like breathing to higher level thinking to the way we pick our favorite bands. In this course, we will study the brain and its functions, including neurons, common neurotransmitters, and how problems with the brain can affect a person’s behaviors. No background in biology or chemistry is needed, as this is an entry-level course.

 

Political Science:

AMERICAN POLITICAL COMMUNICATION (CLOSED!)

Andi Dixon

Morning (9:30am-12pm)

This survey course addresses political communication in the American context. Students will examine the activities of keys political actors (elected officials, institutions, organizations, publics and the media) and will enjoy guided conversations drawn from key works in the field to assess how political actors use mediated public practices to bolster narratives, create consensus, and allocate power and resources. Major topics for consideration include: the public sphere and public opinion; propaganda and public relations; presidential rhetoric; electoral politics and campaigning; journalism, the news, political humor, and public life; research on media and new media effects; mediation of identity politics (age, religion, race, gender and sexual orientation); and, political advocacy, civic engagement, and social movements.

CRIME AND SOCIETY 

Roslyn Myers

Afternoon (2-4:30pm) 

Law guides human behavior, so every action, from buying a newspaper at the newsstand to the way you interact with your peers on campus to the way you protect your home from intruders at night is affected by statutory laws, regulations, and the U.S. Constitution. This class will explore the various dimensions of the law as a social institution, looking specifically at the criminal justice system as an expression of societal values, norms, and expectations. Together, we will struggle with the question of whether the outcomes in the justice system align with its purported goals. Active class discussion, critical thinking, and the oral and written expression of ideas will be emphasized. Whatever perspective(s) you bring to the class, expect to be challenged regularly.

JOURNALISM AND POLITICS IN THE DIGITAL AGE  (CLOSED!)

Burcu Baykurt

Afternoon (2pm-4:30pm)

Digital technology is challenging and changing established journalistic and political institutions on a number of fronts, from the increasing use of data in journalism to the movements such as “Occupy” and the “Arab Spring” to the recent Snowden leaks. This course will explore the digital transformations in journalism and politics along with the consequences of our widespread use of the Internet. What constitutes journalism in an era when anyone with a phone camera and Internet connection can engage in those acts? What level of political knowledge and participation should we expect of citizens, and how do digital media facilitate those levels? This course will provide excellent preparation for students interested in journalism and media studies as well as related fields such as political communications and media policy. With visits to New York City-based newsrooms, digital media companies, and advocacy organizations, we will collectively chart out what kind of roles and responsibilities citizens have in the era of digital media and politics. 

 

Psychology:

PSYCH 101  (CLOSED!)

Jamie Krenn

Morning (9:30am-12pm) 

Psychology can be defined as the scientific study of mental processes and behavior. While psychology is most often associated with clinical issues (i.e. abnormal, personality), this makes up only a small portion of the field. This is a broad survey course covering topics such as physiological, social, organizational, and developmental psychology. The course will develop one’s understanding of seeing psychology as a science of human thought and behavior. Topics covered will be a helpful tool for most university introductory psychology courses.

PSYCHOLOGY OF MEDIA (CLOSED!)

Jamie Krenn

Afternoon (2pm-4:30pm)

Explore the psychology behind media and how it affects you, your peers and the public at large.  If this sounds right up your blog — our course will examine the internet, mobile media, video games and how learning and media go hand in hand to facilitate understanding and decision-making.  You will be introduced to psychological theories and research, and the cognitive processes of media development. Guest speakers will include a people from Nick, Jr., MTV and other media centers.

 

Religion:

LITERATURE AND LOVE IN WORLD RELIGIONS

Liane Carlson

Morning (9:30am-12pm)

What is love?  Can a good action be motivated by desire?  Is it possible to know those we love, or is all love based on projection and self-deception?  If love requires lack or need, how can an all-powerful God love?  What makes love end?  These are some of the questions we will be asking in this interdisciplinary course about Christian, Hindu, Buddhist, Jewish, and Muslim understandings of love and desire in literature, art, film, philosophy, and economics.

RELIGIONS OF NEW YORK

Liz Dolfi & Andrew Junclaus

Afternoon (2pm-4:30pm)

Religion is and has been central to the diverse historical and social worlds of New York City. This course will use the city as its textbook in exploring the negotiations between historical traditions and contemporary practice. We will make twice-weekly visits to “religious” field sites both expected and surprising. We will visit historic worship spaces, the Guggenheim Museum, a local yoga studio, the American Museum of Natural History, traditional ritual sites, and religious street festivals. Major themes in this course will include religion’s role in American history, lived religion, popular religious practice, and the politics of representing and displaying the sacred. Students will gain facility with religious concepts from a variety of traditions, such as Islam, Judaism, mainline Protestantism, Roman Catholicism, Native American traditions, and contemporary spiritualities. Class readings, documentaries, lectures, and in-depth discussions will give students context for their experiences and introduce them to the ways in which religion haunts the landscape and history of New York City.

 

STEM:

BSI: NEW YORK

Joe Liddicoat

Afternoon (2-4:30pm)

BSI: New York (Brownfield Site Investigation: New York) is a course in environmental discovery that combines scientific knowledge, constructionist education philosophy, and multimedia to explore a fictitious brownfield.  A brownfield is property that had prior industrial use that resulted in pollution of the property and surrounding region.  Central to the course is an innovative web-based simulation called Brownfield Action that was developed at Barnard and Columbia University and has a 10-year history of use by Barnard students and other students around the country.  Like real-world environmental consultants, you will develop and apply expertise from a wide range of fields, including environmental science, engineering, journalism, medicine, public health, law, civics, economics, organic and nuclear chemistry, and business management.  A directed reading of Jonathan Harr’s A Civil Action is the text for the course.

INTRODUCTION TO NEUROSCIENCE (CLOSED!)

Leigh Boyd

Afternoon (2-4:30pm)

Ever wonder why your crazy Aunt Mary acts so out of it? Or why people get so addicted to cocaine and other drugs? Or why you always seem to forget things when you’re stressed? These questions have one thing in common: the brain. Our brains are complex systems that oversee almost every aspect of our lives, from basic functions like breathing to higher level thinking to the way we pick our favorite bands. In this course, we will study the brain and its functions, including neurons, common neurotransmitters, and how problems with the brain can affect a person’s behaviors. No background in biology or chemistry is needed, as this is an entry-level course.

INTRODUCTION TO WEB DEVELOPMENT

Farheen Malik

Morning (9:30am-12pm)

A prominent individual has said that “software is eating the world.” From communication to education and healthcare, nearly every part of our lives is being touched by computer programs. It’s no surprise that coding is one of the most important and valuable skills for 21st century success.  This course will teach HTML and CSS, the markup languages that are the building blocks of the web. The course is project-based; you’ll learn by building real websites, from a landing page to a personal portfolio. The course will also teach responsive design techniques, which are critical in a world where much of the web is consumed on mobile devices. By the end of the course, you’ll be able to create a website, and have a strong foundation to tackle more advanced web development. 

 

Studio Art:

CONTEMPORARY ART STUDIO 

Julia Westerbeke

Afternoon (2pm-4:30pm)

New York City has one of the largest and most influential art communities in the world, which is why it can be such an inspiring and productive place for a young artist. Through trips to contemporary art galleries and museums, visits with practicing artists, creative workshops, readings and in-depth discussions, students will gain an understanding of the art world and what it is like to make work within this diverse and creative community. Students will execute creative assignments based on ideas that we have discussed and experienced during the course. An emphasis will be placed on experimental art projects (including collage, mixed-media and installation art).  Our focus will be contemporary art in the city today and how it relates to historic art movements of the 20th century, among them Surrealism, Appropriation Art, and Pop Art. The course will culminate in an exhibition of student work at the McCagg Gallery on Barnard campus.

 

Theatre:

SEX AND BETRAYAL: THE RENAISSANCE TABOO

Benjamin Van Wagoner

Morning (9:30am-12pm) 

To know a culture, know what it’s afraid of. On the stages of London around 1600, any shoemaker could see a ‘Hells mouth’ and devils, murderous Moors like Othello, and the chilling witches of Macbeth, but these were spectacles, flourishes—just icing on the cake of the really unspeakable: taboos. Playwrights filled the seats with scandals that couldn’t be dealt with anywhere else: incest, treason, fratricide, rape, devil worship. An entire subgenre, the sex tragedy, emerged as a result of these otherwise unapproachable topics.  Why? This course will approach English drama from the age of Shakespeare (1580-1620) as a way of understanding England's culture through the taboos its performers enacted on stage. This course will explore what it means to make something taboo (in 1600 and today) and will investigate the role of performance and drama in taboo-ifiying. How do we decide what is just ‘bad form,’ and what’s really unspeakably wrong? Do those unspeakable, unimaginable evils change over time, and if so, how? How can these things be performed onstage when they can barely be talked about? This course will include performance workshops, film screenings and (of course) readings of plays by Shakespeare and his contemporaries (Marlowe, Webster, Middleton, and Ford). We’ll also voyage downtown to attend at least one reading and one performance of plays from this period.

NY IN ART AND FILM

Ted Barrow

Morning (9:30am-12pm) 

From its earliest days as a pre-Hollywood hub of film studios, New York City has played a central role in film in the 20th century, one which corresponds directly to the production of modern art. In this course, comparisons between art-making and film-making will be made, while students will also be introduced to the core literature of modernist writing. Breaking up into four different periods: 1890-The Great Depression, WWII - the early 60's, the 60's and 70's, and finally the post-modern era of art and film, each week will focus on a group of artists or directors (including D.H Griffith, The Ashcan School, Diego Rivera, Sergei Eisenstein, Joseph Cornell, Andy Warhol, Martin Scorsese, and Julian Schnabel) who explore the intersection of art and film, particularly in New York City.

 

Web Development:

WEB DEVELOPMENT

Farheen Malik

Morning (9:30am-12pm) 

A prominent individual has said that “software is eating the world.” From communication to education and healthcare, nearly every part of our lives is being touched by computer programs. It’s no surprise that coding is one of the most important and valuable skills for 21st century success.  This course will teach HTML and CSS, the markup languages that are the building blocks of the web. The course is project-based; you’ll learn by building real websites, from a landing page to a personal portfolio. The course will also teach responsive design techniques, which are critical in a world where much of the web is consumed on mobile devices. By the end of the course, you’ll be able to create a website, and have a strong foundation to tackle more advanced web development.

 

Writing:

Fiction in a NY State of Mind

Jill DiDonato & Mary Roma

Afternoon (2pm-4:30pm)

What makes New York the city we know, or believe, it to be? This course offers students opportunities to look into this question, making observations and using them to inquire into the variety of ways in which people find a place for themselves in this city.

This fiction workshop will focus on the practice of writing and revision, basing their writing in the city that never sleeps.  The core of this course is a writing workshop in which students will read and discuss stories their peers have written for this class; students will receive detailed feedback on their stories from their peers, as well as from the instructors. We will examine published work to see how writers develop characters, plots, and especially, NYC settings. In addition to novels that take place in New York City, the class will consider a variety of sources including non-fiction, film, and personal experience. At the end of the course, students will be well-versed in the writings that take place in New York City, and will have also produced one multi-draft  story of their own. 

WRITING OUR LIVES: WRITING MEMOIR AND PERSONAL NARRATIVE (CLOSED!)

Jill DiDonato

Morning (9:30am-12pm) 

The writer Anais Nin once wrote, “And then the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom.” As the high school student prepares to make the transition from high school to college, she is faced with many challenges. One of these challenges is finding a personal voice and telling a unique story. This is a course designed to help young writers take on the risks of writing memoir and personal narrative. Through use of the writing and revision process as a way to overcome perfection-striving, and use of a collaborative learning model to dispel competition, and through reading the work of luminary writers, students in this course will find power in their experiences, build community among their peers, and gain a sense of academic ownership. As a course designed for the young student coming of age, "Writing Our Lives" offers students the opportunity of a public reading at a New York venue. By the end of the course, each student will have written, workshopped, and revised a personal narrative and will have the chance to share her narrative in a public space. 

SCREENWRITING: THE SHORT FORM (CLOSED!)

Helen Kaplan

Morning (9:30am-12pm) 

From film festivals to cell phones, short films are everywhere. This workshop will demystify the art of screenwriting and give you the tools you need to write a great short script. You will learn how to grab viewers by their collective shirt collar and, more importantly, hold their attention until the final credits roll. Emphasis will be placed on visual storytelling, the classic three-act structure, plot, character development, conflict, and dialogue. Through writing exercises, script analyses, and film screenings, students will learn the craft of screenwriting. By the end of the course, each student will have written three short screenplays as well as revised one of these scripts.

 

 

Courses by Time:   (back to the top)

Morning Courses (9:30am-12pm)                                                Afternoon Courses (2pm-4:30pm)
American Political Communication Acting: Process and Performance
Architectural Culture and NYC Design Studio BSI: New York
Introduction to Web Development Contemporary Art Studio
Literature and Love in World Religions Crime and Society
Masterpieces of Art in NYC

Fiction in a NY State of Mind

NY in Art and Film Filmmaking: From Script to Screen
Psych 101 From Camelot to NYC: King Arthur Through the Ages
Screenwriting: The Short Form Introduction to Neuroscience
Sex and Betrayal: The Renaissance Taboo

Journalism and Politics in the Digital Age

Writing our Lives: Writing Memoir and Personal Narrative Psychology of Media
  Religions of NY