Fall 2005

500 LEVEL COURSES

DMS 502 ELD
Advanced Editing
Sarah Elder
TR 11:00am – 12:50pm
CFA 235
REG#479347
Why do cuts work or not work? This production seminar looks at essential principals of editing and explores the theoretical, practical, and creative editing concerns of film and video artists. The class is designed for anyone working in narrative or alternative fiction, documentary, or experimental media either in video or film. Students will study advanced editing techniques learning how to fine cut their own work with some practice in creative editing design assignments. We will explore the nature of an edit, and examples of good cutting. Students will read essential editing theory including classics by Murch, Eisenstein, Cancyger, and Hollyn. The class will study and practice pacing, time cuts, rhythm, dramatic arch, multiple audio tracts, continuity and discontinuity, match cuts, story building, layering sound FX, editing room management, dialogue editing, anti-narrative, and the influence of dreaming. Guest editors will also visit and lecture on their work. Students must have previous editing experience and preferably bring raw footage or an edited rough cut project on which they would like to work during the semester. Each student will have different challenges depending on his/her genre-fiction, experimental, or documentary. Students will work with Final Cut Pro and Avid, and students who wish to can also work on the 8 plate film Steenbeck. Class size is limited. Lab fee $100

DMS 512 HEN
Film Theory
Brian Henderson
M W 9:00am – 10:50pm
CFA 235
REG#305724 **CANCELLED**

This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise several groups. Classical film theory includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balasz, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism, in Barthes, Eco, Metz , Pasolini, Baudry, Heath, and in feminist film theory, including Gledhill, Mulvey, Silverman, Modleski, Doane, and Studlar. A section on avant-garde theory will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout: e.g., Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement, can be traced in very different theoretical contexts and in close readings of individual films.

DMS 513
Filmic Text
Steven Eastwood
M W 11:00am – 12:50pm
CFA 235
REG#115144

Haptic visuality and the body becoming time.
This class takes an essentially phenomenological approach to experiencing film and video (in both the making and watching process). We will work from a diverse range of theoretical and creative texts in an inquiry into the physicality of the moving image, including Laura C. Marks, Elizabeth Grosz, Merleau Ponty, Slavoj Zizek, Gilles Deleuze, Marguerite Duras and Julia Kristeva. The class will investigate the act of viewing as a form of sensuous contact rather than a process of control. By giving close analysis to feature length film, artists’ film & video, and the shifting spatial environment of installation, such as the work of Janet Cardiff, Mary Kelly, Lynne Ramsay, Margaret Tait, Werner Herzog, Samira Makhmalbaf and Pier Paolo Pasolini, we will explore the visceral, aleatory, often abject and volatile body, transformed in time, on film or tape, and often outside of habitual behaviour. We will look at the visceral intimacy and haptic engagement often engendered by these an d other filmmakers: the berserk, excessive, subjugated, sexual, confrontational body on film. At times (in time) screenings will be challenging. Our discussions will lead to speculations about temporal absences (what Grosz calls “nicks in time”), a differently lived encounter with time and the necessary ruin of representation as has been proposed by a number of feminist film theorists.
Students are encouraged to theorise with and beyond the written text form, incorporating body, space, differing media and duration in their analysis and presentations. Each week we will view a film/video work and respond. Students will be regularly asked to lead seminar discussions in relation to set reading and viewing.

TH 514
Theater and Film
Rob Knopf
T R 9:00am - 11:00am
Room TBD
REG# 115677
4 credits grad; 3 credits undergrad
This seminar examines the complex relationship between theater and film, focusing on their historical, cultural, and aesthetic relationships. Course requirements: weekly essays, film screenings, seminar presentations, and a final seminar paper.
This is a core course in the MAH program in Film and Performance. It is recommended for graduate students in the arts and advanced undergraduate students only. Undergraduates may enroll with permission of instructor only. If interested, please see Molly Casarella for details. Course enrollment is limited to 16 students (11 grad and 5 undergrad).

DMS 515 CAP
Five Five Five: MOVEMENT IN CINEMA AND THE ARTS
Elliot Caplan
M W 1:00pm - 2:20pm
CFA 286
REG#231623
A hands-on, intensive class conducted by Elliot Caplan to teach film and digital arts as collaborative tools for exploration of movement with other art forms, including dance, theatre, and the visual arts. This class is intended for everyone interested in learning to film the moving image.
Students will learn the basics of video camera operation including optics, exposure and framing, lighting, sound recording and editing. Through visual exercises incorporating hands-on video camera techniques and selected screenings, students will have the opportunity to develop a visual sense for the art of filmmaking as it applies to the moving body in dance and performance. Camera instruction is mixed with charcoal drawing to more clearly and quickly illustrate visual points discussed in class. Students will work through a series of exercises using taught camera techniques, basic lighting, microphone placement, and general production issues. Editing will be demonstrated through selected screenings. Students are individually guided throughout the process, work is critiqued daily, and students are encouraged to push themselves to as high a level as they can achieve in a short time. The camera exercises that are given in class help to guide the student toward a visual sophistication, which can be implemented in their own work.
Lectures on specific subjects dealing with new media, art history and contemporary thinking will be given weekly. Use of specific visual examples as demonstrated through art history will be featured, and include painting, photography, and cinema to orient the student toward class discussion.
Student work and exemplar works will be screened, discussed, and critiqued. Contact professor regarding enrollment.

DMS 515 SHP
Locative Media
Mark Shepard
301 Crosby, Main Street Campus
TR 6pm - 7:50pm
Reg# 478266
Locative Media is an emerging field of art and technology practices that incorporate location, data, mobile computing and wireless networks in positing alternate modes for inhabiting contemporary public space.
Some of these practices offer new insights into issues related to place and modes of spatial occupation. This seminar — open to both Architecture and Media Study students — will focus on Locative Media
practices situated within urban environments, and seek to establish a critical context within which to evaluate some of their key claims and aspirations. Drawing on a broader discourse involving the technological mediation of urban experience, the course will combine readings in social theory, spatiality, technology and urban form with an examination of specific art practices of the Surrealists, the Situationists, conceptual and performance art from the 60's and 70's, and more recent projects in Locative Media. Concepts of mapping, pyschogeography, participatory networks, and hybrid spatial experiences will be examined in relation to how we locate and orient ourselves within, navigate through, and inhabit the contemporary city. Students will have the option of producing either a research paper or a project, working independently or in collaboration with others. Crosslisted with ARC 589.

DMS 517 REI
Novels to Film
Linda Reisman
TBA
CFA 235
REG#413725
This course will closely examine the screen adaptations of approximately seven contemporary novels. The authors will include writers such as Russell Banks, Rick Moody, Scott Spencer and A.S. Byatt -- with a range of filmmakers from Paul Schrader to Ang Lee adapting the books. We will read and discuss the novels, screenplays (where available) and screen the final films. For MAH Film & Performance students only.

DMS 523
Programming Graphics I
Dave Pape
TR 2pm-3:50pm
CFA 242
REG#232566
This production course will introduce students to the concepts and practice of programming 3D computer graphics and audio using OpenGL and other libraries. The major focus will be on creating interactive art or games experiences by programming both graphics and sound. The course has three goals: to demystify computer code - we get behind the Graphic User Interface to the machine below; to explore the potential of programming - writing our own code means we can create customized computer tools as well as customized visuals; and to teach the fundamentals of graphics programming. Prerequisites are experience in a programming language such as Python, C, C++, or Java. Lab fee $100. Contact: dave.pape@acm.org

DMS 518
Data, Death and Desire
Trebor Scholz
TR 5pm – 6:50pm
CFA 235
REG# 454042 Automatically registered in DMS 533

DMS 533
Advanced Digital Arts Production
Trebor Scholz
TR 3pm-4:50pm
CFA 244
REG# <<<<<<< linked to DMS 518

Data, Death & Desire consists of 2 joint classes which in tandem offer a unique setting to learn about critical new media production and research informed by cultural theory. The goal of this cross-disciplinary course is to integrate conceptual and technical skills which contribute to a contemporary culture built increasingly on the collection and flow of data. Students will develop their understanding of areas such as interface design, computer programming and data modeling to produce interactive web-based projects.
This course promotes a commons approach to sharing knowledge, technical, design and conceptual skills towards the creation of thoughtful, socially aware new media projects. The collaborative development process is based on such notions such as Open Source, open content, open access and the gift economy.
The course is especially suited for students with a background in some, but not necessarily all, of the following prerequisites: media production skills (video, photography, audio, animation), programming skills, writing skills, knowledge of cultural theory and history. After successful completion of the course each student will have developed the ability to conceptualize and realize critical media projects in a collaborative environment. Examples of potential projects include archival self-portraits, participatory design environments and online communities.
Both undergraduate and graduate students from areas such as Media Study, Art, Design, Comparative Literature, Informatics, Communications, Library Science, Computer Science and Education are encouraged to enroll. Students are required to register for both DMS 518 and DMS 533 concurrently to participate.
Lab fee $100. Contact: treborscholz@earthlink.net
For more info go to: http://distributedcreativity.typepad.com/datadesire/

DMS 527 ENS
Production Management
Jamie Metzler-Enser
M W 11:00am-12:50pm
112 CFA
REG#288766
This course will introduce students to the process of line producing television programming for broadcast and cable networks. The entire process, from treatment to delivery will be examined. Students will learn about the components and tools used by Line Producers and Production Managers that turn visions into reality. Topics will include: production planning; budgeting, scheduling, roles of production departments, staff, crew; production and contract management; union/guilds; rights and clearances and the post production process. Lectures will be focused on sitcom, sketch comedy, narrative and game show formats. Students will learn about the planning and operation of television production. Throughout the semester, students will complete projects that mirror preparation required throughout the industry (i.e. treatments, script breakdowns) and participation in production exercises (i.e. pitch, table read). Assignments include reading, small group presentations, screenings, web research and written reports. jenser@buffalo.edu

DMS 531 CON
Seminar in the Image
Tony Conrad
M 5:00pm-7:50pm
CFA 235
REG#308307
In this course we will strive for a self-reflective, creative setting that allows for critique and
well-informed debate of your work. We will investigate net cultures with both, the due euphoria and the
necessary criticism. The group will examine the potential for creative, innovative and surprising uses of emerging networked media. The course offers you a specter of role models that artists using emerging networked media inhabit: from the virtual intellectual to the net.artist, from HTML slave to online guerilla. "Screen-Based Culture" will draw from net criticism, art (history), cultural studies, anthropology, critical theory, poetry, and the news. This course is for first year MFA students.

DMS 537
New Media I
Lecture
T 5-6:50pm
112 CFA
Reg.#xxxxxxx

DMS 537 A1
Lab
Thursday 5-6:50pm
244 CFA
REG#289154

DMS 537 A2
Lab
Thursday 7-8:50pm
244 CFA
REG#234900

This course provides an introduction to design and the production of interactive multimedia. The content of the class will focus on the theoretical and practical aspects of creating and integrating digital media with authoring/presentation tools. This class will lay the foundation for creating interactive projects for the web and CD-ROMS, and will integrate art, journalism, and music through hands-on developmental projects in our Mac lab. Students will learn the process and skills necessary to create a web site and an interactive CD-ROM which integrates animation, graphic design, sound, and text, working in Adobe Photoshop, Macromedia Dreamweaver, and Flash animation. Lab fee $100.

DMS 540 CAR
Women Directors
Reg# 491989
Tuesday/Thursday 9:00AM-10:50AM , 235 Center for the Arts
Caroline Koebel cgkoebel@buffalo.edu
http://www.buffalo.edu/~cgkoebel/
Office Hours: Tues/Thurs 12:00-12:50 , 248 CFA, 645-6902 x 1482
This seminar course is intended to set the groundwork for an ongoing critical engagement with films—primarily English-language narrative—made by women. Participants will greaten their capacity to locate and frame questions raised by female-directed movies—as distinct from a biologically reductive understanding of cinema. We will examine the relationship between feminist film theory and filmmaking, and pay close attention to how especially particular directors articulate theoretical models through cinematic tactics. Although not strictly a course on feminist film history, Women Directors spotlights significant titles and directors in that history (see dates below for exact names). Students are encouraged to apply the course's analytic tools to their theoretical comprehension of the film medium, as well as to their own respective production practices. The seminar will address in depth such topics as “the male gaze” and its subversion in given films; the (dis- and re-) remembering of women in film history; representations of otherness; race, gender and sexuality in films by women; authorship and speaking subject or voice; and demands for active spectatorship through the integration of theories and practices that challenge narrative: Anti-Illusionist Film, Counter Cinema and Feminist Film. The last four weeks will be reserved for group presentations of films and readings. Other course work includes weekly screenings and readings, presentations of readings, outside screenings, written assignments, and a term paper.
Regular, on-time attendance and full class participation is mandatory. Students must come to class prepared—ready to discuss the assigned readings and films. The semester grade will be affected by absence, tardiness or lack of preparedness.

DMS 543 BOH
Media Robotics I: Dirt Cheap Computing
Assistant Professor Marc Böhlen
( marcbohlen@acm.org ),
and TA Nick Stedman
( nick@interaccess.org ),
M W 11:00 AM - 12:50 PM
CFA 246
Reg.#200115
MediaRobotics I is an introduction to the field of robotic arts. Students will learn fundamental concepts in computer programming, electronics and mechanics and be exposed to works by prominent artists in the field. This is the first in a series of three Mediarobotics courses leading to a deeper technical and conceptual understanding of computationally enabled art forms. It is designed for the enthusiastic beginner with some knowledge of computer programming but no formal background in the engineering sciences.
In this course we use mass produced, reliable, robust, energy efficient and dirt-cheap industrial grade programmable microprocessors. At the heart of consumer electronics, these chips are on the lowest level of the computational food chain. Simple and robust, microprocessors now outnumber human beings on the planet Earth. Combined with secondary processors, wireless communication, input devices and additional memory space they can scale to more complex applications. Microprocessors are the departure point for students seeking a first exposure to MediaRobotics. $100 lab fee.
http://www.acsu.buffalo.edu/~mrbohlen/sponsors.html

DMS 546 DEN
Interface Design
Holly Johnson
M W 6:00pm-7:50pm
CFA 244
REG# 226375

Why do computer-based products succeed or fail? Many factors play into this equation, but one critical factor is interface of interaction design. Human-computer interaction (HCI) is the study of how humans use computers. Knowledge in this area is essential to producing successful computer programs. This class will explore current topics in HCI and interface design while developing computer-based products in a group environment with a focus on developing a user-friendly interface. Students in this course should have Basic Digital Arts or the equivalent and be familiar with
either Web production or Macromedia Flash. $100 lab fee.

DMS 553
VR Art Project I
Staff
W 2:00pm-5:50pm
CFA 266
REG#134965
This course is designed for students with graphics programming experience and/or experience with 3D modeling packages. Teams of modelers and programmers will collaborate to build immersive virtual reality art experiences over the course of 2 semesters. The course introduces students to Ygdrasil, a high-level VR authoring toolkit and Performer a graphics library. Ygdrasil handles a number of activities common to VR environments, such as assembling 3D models into a world, collision detection, navigation, and detecting events and passing messages in response to them. Modellers will face the challenge of modeling for a real time environment. Prerequisites are graphics programming (DMS 424 or equivalent) and/or advanced experience with 3D modeling packages. Lab fee $100. Contact: dave.pape@acm.org .

DMS 547 CON
Sound Design
Tony Conrad
MW 1:00pm-2:50pm
CFA 232
Reg.#258204
The “visual” media—film and video—are powerfully inflected by their accompanying audio tracks, which frequently convey the work's preponderant sensibility, or even its core meaning. This course aims to prepare media students technically, conceptually, and musically to work with audio. Topics introduced will include sound design for media, field and studio recording methods, foley recording and editing, audio mixing strategies, signal modification and effects, multitrack audio reproduction, the basic physics of sound and audio signal electronics, the technological principles and specifications of microphones and sound recording systems, midi, music composition and improvisational approaches and practices, world music, and the qualities of song and speech production. This is not a course in audio software or CD burning.
The grade will be based on successful completion of a series of short production exercises, brief quizzes on the reading assignments, and regular attendance. There is no final exam. Lab fee $100. Prerequisites: Principles of Production or permission of the instructor.

DMS 555 ROU
Advanced Film & Media Analysis: Avant-Garde Cinema and Popular Culture
Sarah Bay-Cheng
MW 9:00am-10:50am
CFA 232
Reg.#060568
Named for an elite military force, “avant-garde” art, film, and media arguably never lost their aggressive edge. And yet, the techniques of the early avant-garde regularly appear in contemporary mass media in everything from music videos to corporate advertising. Have we arrived at the post-avant-garde (perhaps as postmodernism)? Has the phrase become defunct in an age of almost instantaneous appropriation? This course is an advanced study in the theory and practice of avant-garde film and video and its connection to popular culture today. In the first part of the course, students will examine the history and theory of the term “avant-garde” and its role in art, film, and performance in the attempt to articulate a working definition of the term. In the second half of the course, we will consider contemporary popular media (television, internet, and popular film) and it s appropriation of avant-garde techniques. Students will write a final paper considering a particular aspect of avant-garde cinema in popular media.

DMS 598 (1-6 cr. Variable)
Project Supervision
Permission of Instructor
A student may enroll for this course after completing course requirements and while working on the thesis project. This course is for non-written projects only. One to six credits of the “project supervision” may be applied toward the MAH degree. Course syllabus form should be prepared prior to semester start and one copy should be on file in the Media Study office. Lab fee: $100. For registration information, see Nancy King in 231 CFA.

DMS 599 (4 cr. Variable)
Supervised Teaching
Permission of Instructor
See Nancy King in 231 CFA.

600 LEVEL COURSES

DMS 600 (1-8 cr. Variable)
Independent Study

Permission of Instructor. Students may arrange for special courses of study with faculty through “independent study.” The instructor will set the guideline for the course on an individual basis. It permits the student to study independently in an area where no course is given. Course syllabus form should be prepared prior too semester start and one copy should be on file in the Media Study office. For registration info, see Nancy King in 231 CFA. Lab Fee: $100 For registration information, see Nancy King in 231 CFA.

DMS 603
Cinematography
Elliot Caplan
W 11:00am – 2:40pm
CFA 286
REG#469049

A creative approach to the designs and thinking of photographing light and image making. The art of cinematography has a relatively short rich history compared with other fine arts, though is unique for its rapid advancement and daily placement into our lives. In this course we will construct our own textbook on the art of cinematography through experiment and trial using a variety of media, light sources and ingenuity. Students will be required to draw with pad and charcoal in class assignments as well as homework assignments. No previous drawing experience is necessary. The class will incorporate a hands-on approach concentrating on art values rather than technique. Emphasis will be placed on recognizing and solving visual problems through "seeing". Students will learn the principles of camera operation, optics, exposure, framing, lighting, and sound recording as it pertains to classroom experience. Discussions will include selected screening as well as viewing of painting and photography reproductions. Lab Fee: $100

DMS 604
Principles of Production
Meg Knowles
F 10:30am – 2:10 pm
CFA 286
REG#246244
In this course, students will explore and experiment with the film & video media through a series of short production projects. Improvement of technical knowledge and photography/recording/editing skills will be emphasized, and creativity encouraged. Topics to be explored will include: understanding the film & video lenses, cameras and stocks, advanced shooting techniques, sound gathering techniques, microphone placement and selection, digital multi-track sound editing (Pro-Tools), lighting techniques for studio and location, time-code, digital editing (Final Cut Pro HD), special effects (After Effects), and/or DVD authoring (DVD Studio Pro) . $100 lab fee. Contact - megk@buffalo.edu

DMS 605/ENG 706
Procedural Poetics
Loss Glazier
T 3:30-6:30
CFA 232
Reg.#383284/Reg.# N/A
Programmable literature can be defined as new media writing that uses programming and/or interactivity to generate varying content for different readings. This emerging discipline is a truly dynamic field of digital media poetics. This is a graduate-level course about reading programmable literature and about relevant literary/digital theory. It will provide detailed examination of works by programmable medium artists such as John Cayley, Philippe Bootz, Neil Hennessey, Judd Morrissey/Lori Talley, Simon Biggs and/or others. The concept of "literature" will extend to other implementations of programmability, including diverse types of textual art machines. We will consider the grammar of programming languages and will differentiate programming code from scripting languages and simple mark-up. A survey of programming languages, algorithmic thinking, and text manipulation programs will be included, depending on student interest. We will look at some Language Poetry practices as relating to programmability. We will consider the relation between programmed variance and scholarly textual criticism. Theories of programmability will be central to the course and will include a look at foundational writings, including Turing, Babbage, Kittler, and others. Questions that will be raised include how meaning is made when texts have multiple content, how such multiple content can be tracked, how the scope of a work is determined, and how you read between the variants to locate issues at the core of such works. Course requirements: reading, oral presentation, final project, digital or paper. If digital, final project may be a programming project, text manipulation project, or variance analysis, digital or traditional; if paper, given the newness of the field, it is hoped that paper can be publishable. No programming/technical experience is required.

DMS 607 AMS
Methodology
Bruce Jackson
M 3:30pm – 6:10pm
ROOM: TBD
REG#331237
Most literary research is grounded in documents already in place: books on a shelf; manuscripts in an archive; letters collected, catalogued, and boxed. But warehoused documents are not the only sources for literary scholars, and they aren't even the primary sources for scholars in folklore, oral history, anthropology, sociology, and recent biography and history and public policy. For those scholars, the stuff to be analyzed and interpreted comes from interviews with and observations of living people—from fieldwork.
Participants in this seminar will design and carry out a project of field research and will engage in extensive discussions of their work. Subject matter and medium are completely open: you can document a poet, a rock band, a crook, a cop, a cookie store, a process, a group; you can do it with still camera, notebook, audio or video tape recorder or film. Whatever.
There is no syllabus. Our discussions will focus on research project definition and design, fieldwork ethics, collection and management of data, and the organization of data into a product—article, film, sound recording or program, thesis. I'll ask you to read two books—one a methodological text on how to do fieldwork, the other a collection of essays by several interesting people on how their fieldwork projects began to make sense to them, or how they learned that what they thought they were doing wasn't what they in fact were doing. We will probably add some reading as we go along—items that come out of our specific discussions.
Some participants may finish a product during the semester, but a finished product isn't a requirement (though at least a rough draft of one is); our concern will be on designing and carrying out the field research, and with understanding the substantive, methodological, and ethical questions raised by one another's work.
Past participants in this seminar have been graduate students in American Studies, English, Comparative Literature, Anthropology, Media Study, Communications, Sociology and History.

DMS 610
Experimental Non-Fiction Media
Sarah Elder
T R 3:00pm - 4:50pm
REG# 453949
This graduate lecture explores new directions in non-fiction film and video. We will look at experimental documentary, hybrid forms of nonfiction/fiction, new diary forms, post modern influences, activist media, new domestic ethnography and newly emerging video practices. Students will investigate the blending, suturing and re-invention of nonfiction formats, forms and documentray traditions. Course will include weekly screenings, readings, student presentations and discussions.

DMS 613
Art Practicing the Body
Caroline Koebel
TR 1:00pm - 2:50pm
REG #499318
This interdisciplinary studio course takes "the body"—in its myriad senses, significations and interpretations—as the basis for aesthetic and critical inquiry. Course requirements will center on three major projects realized in the form/media of the student's choice, including performance, digital/cyberart, installation, video, audio, and text/writing. We will consider how artists and others position the turn-of-the-millennium body, and the influence of previous investigations on recent approaches to the corporeal self. A plethora of art works and writings by the likes of Samuel R. Delaney, Carolee Schneemann, Bob Flanagan, Lygia Clark, Orlan, and Gina Pane will act as a catalyst for a discourse and praxis of engagement and vitality. Lab fee: $100

DMS 627 (1-8 cr. Variable)
Supervised Reading
Permission of Instructor
This course permits a student to do independent reading in an area where no course may be given. The instructor will set the guidelines for the course on an individual basis.
Course syllabus form should be prepared prior too semester start and one copy should be on file in the Media Study office. For registration info, see Nancy King in 231 CFA. Lab Fee: $100

DMS 690
Media Arts Internship

DMS 627 A-X
Supervised Reading
Staff ***
Reg.#000000
ARR, ARR-ARR
CFA ARR
Contact the Media Study Department for registration.

DMS 691 CAP
Capstone Internship
Linda Reisman
Reg.#000000
ARR, ARR-ARR
CFA ARR
Contact the Media Study Department for registration.

700 LEVEL COURSES

DMS 700 STA
Theisis Guidance
Staff ***
Reg.#000000
ARR, ARR-ARR
CFA ARR
Permission of Instructor
A student may enroll in this course after completing course requirements and while writing the thesis. This course is for the written thesis only. One to six credits of “Thesis Guidance” may be applied toward an MAH degree. Permission of the instructor is required. Course syllabus form should be completed before the semester’s start, and one copy should be on file with the department. For registration info, see Nancy King in 231 CFA.

DMS 700 A-W
Thesis Guidance
Staff ***
Reg.#000000
ARR, ARR-ARR
CFA ARR