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2018 New York Film Academy, Study Abroad Catalog 1

NEW YORK FILM

ACADEMY (NYFA)

STUDY ABROAD

2018

Course Catalog


TABLE OF CONTENTS INTRODUCTION 4 STUDENT CODE OF CONDUCT 6 ADMISSIONS INFORMATION 14 NYFA STUDY ABROAD OVERVIEW 16 NEW YORK FILM ACADEMY (NYFA) FLORENCE, ITALY 18

Prospectus: The NYFA Florence, Italy-Study Abroad Program Location Student Body Curriculum & Faculty Florence Housing 19 Features of NYFA Florence Study Abroad

Appendix A: NYFA Florence, Italy-Study Abroad Offerings 21 Semester Program in Filmmaking Semester Program in Acting for Film 23

Hands-On & Intensive Workshops 25

Appendix B: NYFA Florence, Italy Study Abroad Tuition & Dates 39 NEW YORK FILM ACADEMY (NYFA) PARIS, FRANCE 40

Prospectus: The NYFA Paris, France-Study Abroad Program Location Student Body Curriculum & Faculty Paris Housing 41 Features of NYFA Paris Study Abroad

Appendix A: NYFA Paris, France-Study Abroad Offerings 43 Hands-On & Intensive Workshops

Appendix B: NYFA Paris, France Study Abroad Tuition & Dates 53 NEW YORK FILM ACADEMY (NYFA) GOLD COAST, AUSTRALIA 54

Prospectus: The NYFA Australia Study Abroad Program Location Student Body 55 Curriculum Faculty 56 Gold Coast Housing Features of NYFA Australia (Gold Coast) Study Abroad

Appendix A: NYFA Australia Study Abroad Offerings 58 One Semester (12-Weeks) Program Abroad in Filmmaking One Semester (12-Weeks) Program Abroad in Acting for Film 61

Hands-On & Intensive Workshops 64


Appendix B: NYFA Australia Study Abroad Tuition & Dates 69 NEW YORK FILM ACADEMY (NYFA) BEIJING, CHINA 71

Prospectus: The NYFA Beijing, China Study Abroad Program Location Student Body 72 Curriculum & Faculty China Housing Features of NYFA Beijing Study Abroad

Appendix A: NYFA Beijing Study Abroad Offerings 74 Hands-On & Intensive 4-Week Programs

Appendix B: NYFA Beijing Study Abroad Tuition & Dates 78 FACULTY LIST 79 REFUND POLICIES 91 70

2018 New York Film Academy, Study Abroad Catalog

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INTRODUCTION

HISTORY The New York Film Academy was founded in 1992 on the belief that a top-quality education in filmmaking should be accessible to anyone with the drive and ambition to make films. The school opened at Robert De Niro’s Tribeca Film Center in New York City, and has expanded worldwide to include campuses in New York; Los Angeles; South Beach, Miami; Queensland, Australia; Florence, Italy; and Mumbai, India. In addition, NYFA runs annual summer programs in Paris, France; and Beijing, China.

MISSION Through its educational programs, NYFA propagates visual literacy and visual storytelling through hands-on intensive learning. It seeks to make visual storytelling education accessible to the most diverse, international, and broadest possible spectrum of students, and to hone the skills of future professionals so that they may one day serve the visual storytelling arts as industry leaders.

STATEMENT OF PURPOSE The New York Film Academy seeks to promote and advance the art of Visual Storytelling (Film and related media including staged performance) as a transformational and ennobling vehicle to both the creator and audience, with a profound impact on individuals, communities and global society.

VISION/CONTEXT Visual communication plays an increasingly vital role in our globally connected lives. Motion picture content in its innumerable manifestations has entered virtually every aspect of daily life, work, culture, and our constructed

environment. Indeed, visual communication is fast becoming the predominant form of expressive communication worldwide. Visual storytelling, in all its historical and evolving forms, has the unique power of allowing us to experience the life of others through the imagination and perspective of the storyteller. The ability to effectively harness this means of expression will be ever more essential to a successful member of the creative industries. In order to serve aspiring visual storytelling artists, educators in this field should act as conservator and innovator, passing on the accrued knowledge, techniques, and methods of the art while incorporating new technology and innovations. We believe the process of creation itself can be ennobling to the artist, and the artist’s creation can have a profound impact on others. By giving the audience the chance to experience the world from the perspective of another, visual stories have the power to create empathy, bridge differences, and open new avenues of thought. Therefore, the motion picture artist has a power and a responsibility. Those who master this form of communication will be instrumental in the development and advancement of society, and institutions that hope to educate and train visual storytellers play an essential role in that same mission.

OBJECTIVES NYFA has set the following objectives to fulfill:

• To provide a learning environment conducive to creative thought and artistic expression, as well as hands-on collaboration.


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• To help students better appreciate the art and craft of visual storytelling so that they may develop as artists and better express their personal artistic visions.

• To empower students to find and develop a creative voice.

• To teach and develop new capabilities in students’ approach to the art and craft of visual storytelling.

CORE VALUES

In pursuit of its institutional mission and goals, the New York Film Academy adheres to the following core values. These core values inform the New York Film Academy’s decision-making processes, institutional policies, and commitment of institutional resources: Student Success: As a student-centered institution, the New York Film Academy recognizes that the success of its students is inseparable from and synonymous with the success of the college itself. The New York Film Academy strives for its students’ success as learners, professionals, and global citizens. Integrity: The New York Film Academy expects its students, faculty, staff and administration to act

with integrity, honesty, and the highest ethical standards. Excellence: In every area, at every level, and among all stakeholders, the New York Film Academy strives for excellence. The institution sees as its main function to create an intellectual, physical, and social environment that promotes and supports excellence among its stakeholders and the community at large. Global Reach: In an increasingly interconnected global society, the New York Film Academy is committed to graduating global citizens with the communication, collaboration, and critical skills necessary to address issues facing our modern world. To this end, the New York Film Academy seeks to offer programming to the widest possible array of global populations, with a physical presence in as many locations as possible while continuing to deliver visual storytelling education of the highest quality.


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STUDENT CODE OF CONDUCT

HONOR CODE The New York Film Academy is an academic community devoted to learning and the cultivation of artistic craft. The New York Film Academy (NYFA) views integrity as the basis for intellectual pursuit, artistic development, independent scholarship, and meaningful collaboration. Honesty in the representation of work and in interactions with teachers, advisers, peers, and students is the foundation of our community. The following principles of academic integrity shall be referred to as the Honor Code. Violation of the Honor Code shall constitute cause for disciplinary procedures including but not limited to suspension or expulsion. 1. Cheating Cheating may include, but is not limited to, the use of unauthorized study aids, or other materials in any academic exercise. Failure to follow the express rules or instruction in completion of an academic exercise may also constitute cheating. 2. Fabrication The creation or falsification of information or citation used in academic exercise is considered fabrication and a violation of the honor code. 3. Plagiarism Plagiarism is any attempt, successful or not, to pass off someone else’s work as your own. Any copying from another student, or lifting/paraphrasing passages from the internet, or any other source, without giving proper credit shall be deemed dishonest.

4. Multiple Submissions The resubmission of any work which has been previously submitted for academic credit without the direct consent of the instructor receiving the resubmission shall be deemed dishonest. 5. Unauthorized Assistance Unauthorized assistance may include, but is not limited to, inappropriately working with others to complete assignments for class credit. This rule applies to written material, take home exams and any other assignments expressly assigned as an individual assignment and will also include creative work intended to be an individual effort. 6. Forgery & Falsification The misrepresentation or alteration of any academic or administrative document submitted to the NYFA or its representatives will be considered dishonest. 7. Solicitation Students are prohibited from paying or soliciting financial compensation from other students for services or products such as, but not limited to, production, pre-production, post-production and script consultation. 8. Facilitating Academic Dishonesty Any student who knowingly and actively assists another student with an honor code violation will also be in violation of the honor code.

STANDARDS OF CONDUCT The following rules shall constitute the expectation of behavior of students enrolled at the New York Film Academy. Violation of the


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following rules known as the Standards of Conduct shall constitute cause for disciplinary procedures including but not limited to removal from class, suspension, or expulsion. 1. On-Campus Conduct

a) Obstruction or Disruption: The obstruction or disruption of an instructor or administrator in the pursuit of any New York Film Academy related class or activity may be grounds for immediate removal and subject to additional disciplinary action. b) Defamation: Defamation is the false statement of a fact that does injury to the reputation of a person(s) or institution either written or spoken. Defamation against another NYFA student or employee, including but not limited to the use of technology to cause injury through false statements is strictly forbidden. c) Disorder ly or Lewd Behavior: Disorderly or Lewd behavior may include, but is not limited to, disturbance of the peace or expressly sexual behavior on New York Film Academy property or at any events associated with the college. d) Failure to Comply: Failure to identify oneself to, or comply with directions of a New York Film Academy employee acting in the performance of his or her duties while on campus or at a college sponsored event may be subject to immediate removal and additional disciplinary action. e) Cel l Phone and Electronic Devices: Students are expressly forbidden from the use of cell phones and other electronic

devices in class without the express permission of the instructor. f ) Smoking in Undesignated Areas: Smoking of any kind, including the use of vaporizers, is expressly forbidden in any indoor locations on campus or at college related events. Smoking outdoors is also forbidden except at a clearly identified smoking area established by the New York Film Academy’s administration. The smoking of marijuana and other schedule 1 drugs is forbidden in all areas. g) Courtesy to Neighbors: Students must remain quiet in the hallways and general areas on campus and surrounding NYFA and must not approach or enter neighboring offices. Students may not, under any circumstances, solicit neighboring offices for employment. h) Guests Brought in by Students: Students are responsible for the conduct of all guests brought to the premises, facilities, productions or events of NYFA. Students may be held liable for any Code of Conduct violations committed by such guests and may face disciplinary action for all violations that occur. i ) NYFA Guest Speakers The New York Film Academy frequently hosts guest speakers from the entertainment industry. Students may not attempt to solicit work from these guests, pitch them ideas, or attempt to pass on scripts, headshots, reels, or other development material. Any student found to be in violation of these rules will not be allowed to attend future guest events and may face disciplinary action. j ) Unsanctioned Vehicles : Students are expressly prohibited from using


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hover boards, skateboards or drones on NYFA premises or at NYFA sponsored events without the express written permission of the college. k) Personal Care: All students are required to maintain healthy and diligent personal hygiene. Regular bathing and frequent laundering of clothes are necessary to ensure a healthy and comfortable learning environment. l ) Unauthorized Entry: Students are forbidden from entering campus buildings outside of posted hours without express consent of the Director of Operations or a senior NYFA administrator.

2. Sexual Discrimination & Misconduct The following rules contained in this section are governed by the college’s title IX policy. For complete rules, definitions, and policies related to sexual discrimination and misconduct, please refer to Appendix A: Sex-Based Discrimination And Sexual Misconduct Policies & Grievance Procedures.

a) Harassment & Sexual Assault : Sex-Based Discrimination: Any act of discrimination on the basis of sex that creates a hostile learning environment or limits an individual the ability to participate in or benefit from any New York Film Academy educational programs, even if the conduct is not sexual in nature, is not tolerated. Acts of intimidation or hostility, whether verbal, nonverbal, physical, or written (graphic or electronic) against an individual because of gender identity, including transgender status, or because of sexual orientation will be addressed under this policy.

Sexual Misconduct: New York Film Academy does not tolerate any unwelcome behavior of a sexual nature that is committed without consent or by force, intimidation, coercion, or manipulation. An individual of any gender can commit Sexual Misconduct and it can occur between individuals of the same or different gender. In regards to this policy, Sexual Misconduct is used as an umbrella term to indicate any of the following:

• Incapacitated Assault • Rape • Relationship Violence • Sexual Assault • Sexual Coercion • Sexual Exploitation • Sexual Harassment

b) Retal iation: Retaliation against any person for filing, supporting, or providing information in connection with a Complaint of Sexual Misconduct (any form of Sexual Harassment or Sexual Violence) is strictly prohibited. Violations of this Policy will be immediately addressed through New York Film Academy’s disciplinary procedures, as deemed appropriate in NYFA’s discretion. Any person who feels that he or she has been subjected to Retaliation should make a report to your campus Title IX Coordinator. c) Providing False Information: Any individual who knowingly files a false Complaint under this Policy, who knowingly provides false information to New York Academy Administration, or who intentionally misleads NYFA Administration involved in the investigation or resolution of a Complaint may be subject to disciplinary action.


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3. Drug & Alcohol Free Campus

a) Possess ion of Drugs & Alcohol: Under no circumstances are drugs or alcohol allowed on New York Film Academy premises or on the property in which NYFA courses are taking place. Anyone found to possess alcohol or any illegal substance may be subject to expulsion. Any student in the company of a student using or possessing alcohol or illegal substances may be subject to disciplinary action. b) Inf luence of Drugs & Alcohol: Under no circumstances should a student on NYFA premises, on the property in which NYFA courses are taking place, or at a NYFA production or shoot be under the influence of drugs and/or alcohol. c) Alcohol at Events: Students are reminded that alcohol may be present at certain NYFA events and are expected to adhere to the laws of the country they are in regarding alcohol consumption and underage drinking. Students who appear to be inebriated and/or under the influence of drugs will be removed from the event and may be banned from future NYFA events. Students who break federal & state laws may face prosecution. d) I l legal Drugs: The New York Film Academy recognizes federal laws over state laws and laws governed by the specific country of the NYFA location where enrolled in defining illegal drugs. The possession of any schedule 1 drug, as defined by the United States Controlled Substance Act, either on campus or at a college related activity will constitute a violation and be subject to disciplinary action. Schedule 1 drugs include but are not limited to Marijuana, MDMA, Heroin,

Psilocybin, and GHB. 4. Campus Safety & Security The New York Film Academy provides a safe environment, which is necessary to support artistic development. Physical violence is not tolerated. Any student who is reported to have committed an act of violence against another student, staff, or faculty member, including but not limited to punching, striking, or kicking, will be immediately suspended and not permitted admittance to the school facilities or school functions. Suspension will continue while the school investigates the incident. If the act of violence is confirmed through investigation, the student will be suspended for the term of instruction and may be permanently expelled from the school.

a) Assault & Battery: Assault is the intentional attempt using violence or force to do someone harm. Battery is the intentional touching of another individual in a way that is harmful or offensive without the consent of the person being touched. Assault or Battery that threatens the safety of any NYFA student or employee will be grounds for immediate removal and subject to additional disciplinary action. b) Harassment: Any verbal, nonverbal or written act that creates a hostile learning environment or limits an individual the ability to participate in or benefit from any educational program. c) Stalking: A course of actions directed at an individual that would cause a reasonable individual to fear for their safety or the safety of others and/or suffer substantial emotional distress.


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d) Intimidation & Bullying: The use or threat of force to achieve a favorable position over another NYFA student or staff member is strictly prohibited. e) Weapons: Firearms, pellet guns, stun guns, ammunition, knives, martial arts weapons, dangerous chemicals, fireworks or explosives of any kind (regardless of license) are never permitted on NYFA property or the property in which NYFA classes are taking place. Pepper spray (2.5oz or less) displaying a clear warning label are permitted to carry for self defense purposes. A multifunctional tool with a blade 2 1! 2 inches or less, does not open automatically and has only one edge may be permitted to use on set or for the purpose of production. Any object used in a threatening manner or with the intent to do harm will be considered a weapon and a clear violation of NYFA policy. f ) ID Requirements: Students are required to carry a valid photo ID (Driver’s License, Official State Identification Card, Passport) as well as their NYFA Student ID Badge (if issued) while on the premises of a NYFA property or the property in which NYFA classes are taking place, related productions, official student functions or events. Failure to do so may result in the student being removed from such premises at NYFA’s discretion. Students are responsible for their NYFA student ID Badges (if issued). Any student caught tampering with their badge (if issued), willingly assisting another individual with attempting false or unauthorized entry into a NYFA property or the property in which NYFA classes are taking place, will be subject to immediate disciplinary or legal action, including suspension or expulsion.

g) Vandalism: Students found misusing or vandalizing property owned by NYFA, a property in which NYFA classes are taking place. or any neighboring residences or businesses will be subject to fines and/or immediate suspension. i ) Discrimination: Any violation of NYFA’s standards of conduct in which the nature of the violation is sex or gender based will be governed by the rules of Appendix A: Sex Based Discrimination and Misconduct (Please see NYFA LA’s Course Catalog). All other forms of discrimination are governed by the rules of Appendix B: Non Sex Based Discrimination (Please see NYFA LA’s Course Catalog). Evidence of discrimination in the violation of any rule set forth in the Student Code of Conduct will increase the severity of the punishment.

5. Technology

a) NYFA Emails : Students must use their NYFA email account in all correspondence with NYFA faculty and staff (if issued). b) Ethernet: Students are strictly forbidden from tapping any Ethernet lines of NYFA or adjoining businesses for their personal computers. Our network holds confidential information and tapping into it poses a security risk. Any student who fails to comply with this rule will be subject to suspension and expulsion.

c) Fi le Sharing: Illegal downloading via torrents or other file sharing sites is not permitted using NYFA’s computers or NYFA’s wireless/wired networks. Anyone caught doing this will be


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subject to immediate disciplinary action by the New York Film Academy. Furthermore, anyone caught downloading illegal material may be subject to legal action under federal law. d) Recording Devices: Students are prohibited from recording class lectures without written permission from the Director of NYFA. e) Social Media Fraternization: In accordance with NYFA’s non- fraternization policy, students are prohibited from fraternizing with faculty and staff on social media, including, but not limited to, “friending” or accepting “friend requests” on Facebook or following faculty or staff on Twitter, Instagram, Snapchat, and any other social media sites. Please note that the only exception to this policy is LinkedIn. Online and off-campus fraternization can blur professional boundaries between faculty and students, and this policy protects both parties. Any faculty member who violates this policy is subject to disciplinary action. f ) Cyber -Bullying: Cyber-bullying against any NYFA student, staff member or faculty is strictly prohibited. Additionally, students are reminded that they represent NYFA during production workshops, off-campus shoots or collaborations. Any form of cyber-bullying towards individuals working with NYFA under any capacity, is also prohibited. Cyber-bullying encompasses all use of technology to harm or harass others. This includes, but is not limited to:

• Unwanted contact or harassment via social media, emails, phone calls or text messages

• Threatening emails, instant messages, calls or text messages

• Fraud or identity theft: impersonating someone or creating a false identity

• Hacking someone’s email or social media account.

• Spreading false or private information • Creating websites to rate peers or

faculty/staff or to mock or harass someone

• Sharing photos or videos online or via text without the subject’s consent

Students found engaging in cyber-bullying will face a thorough investigation and disciplinary action, up to and including expulsion.

6. Production & Post-Production

a) Post -Production Guidel ines: Students must follow all Editing and Post- Production Department guidelines for proper conduct in the editing facilities and for using all NYFA editing and post- production equipment. The guidelines range from how to correctly handle the equipment to the times editing is permitted. Students must follow similar guidelines with regard to filmmaking equipment. These guidelines will be outlined on the first day of classes. Failure to comply with these guidelines will result in disciplinary measures, including temporary loss of editing privileges, suspension of equipment checkout privileges or removal from final film screenings. b) Prop Weapons: Students are only permitted the use of prop guns or prop weapons on green-lit productions, with the express approval of the instructor and Department Chair, and when licensed by the local permitting office. Any student or crewmember participating in the


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filming of a project featuring the unauthorized use of a prop gun is subject to expulsion. Any student or crewmember participating in the filming of a weekend project featuring the use or display of a real firearm in any setting is subject to expulsion and will be reported to the authorities for further investigation. Any recorded media that is found to be in violation of the preceding rules may be confiscated and destroyed. c) Action Sequence Authorization: To maintain on-set safety, students who wish to film stunt or action sequences must first complete the Action Sequence Authorization Request Form and submit the following documentation to the NYFA Director of the international location in which a student is enrolled: • Shooting script • Storyboards • Shot lists • Consult Director of the international

location of enrollment for any specific insurance and permit requirements

Once approval has been granted and all the requisite paperwork has been cleared, students may film their stunt or action sequence under the supervision of an outside stunt coordinator.

d) Props & Wardrobe: Students are responsible for props and wardrobe at all times while in their possession. If props or wardrobe are damaged in any way, students are responsible for the replacement value dictated by the NYFA Departments. e) Locations :

• Students must be respectful of the

NYFA campus or the property in which a NYFA program is taking place.

• Students must not stray from the set on which they are filming.

• Students may not climb onto building rooftops or film at any unsanctioned areas of the campus or studio backlot, including the parking lot, lobby, common areas and hallways.

• In order to film or occupy classrooms, students must check for classroom availability with the Director or appropriate staff at the location enrolled.

• Students may not scream or make any other disruptive noise for any reason.

7. Additional Standards Students must read and adhere to all rules in the Student Handbook and Production Handbook while on campus, the property in which a NYFA program is taking place, or at any Academy- sponsored event. The rules set forth in the Department or Equipment Handbooks provided to students will also constitute standards subject to disciplinary action.

JURISDICTION The New York Film Academy has jurisdiction over student conduct that occurs on NYFA property, the property in which NYFA programs are taking place, or in connection with official college functions whether on or off campus. NYFA may, at its sole discretion, exercise jurisdiction over student behavior that occurs off campus and that would violate student conduct policies or regulations when:


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1. The alleged misconduct indicates the student poses a threat to the safety or security of any member(s) of the college community; or

2. The alleged misconduct is harmful to the College and/or its reputation; or

3. The alleged misconduct threatens the

ability for students to perform regular activities outside of school in the pursuit of their chosen field of study.

In determining whether or not to exercise off- campus jurisdiction, the New York Film Academy will consider the seriousness of the alleged misconduct; whether an alleged victim is a member of the campus community; the ability of the University to gather information, including the statements of witnesses; and whether the off-campus conduct is part of a series of actions that occurred both on and off campus.


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ADDMISSION INFORMATION General Enrollment Requirements No previous filmmaking or acting experience is required; NYFA encourages enrollment of students from all backgrounds and all parts of the world. Students, however, must be prepared to live and breathe film in an intensive total immersion workshop. As space is limited, we recommend early application to guarantee a place in the workshop or long-term program of your choice. $50 Non-Refundable Application Fee (Paid by credit card, bank transfer, certified check or money order). Upon acceptance to the program a deposit of $500 is required to ensure a space in the program. In addition to the New York Film Academy (NYFA) application form, applicants must submit the following:

• Proof of high school graduation at a minimum, or proof of good standing at a higher education institution.

o Transcript requirements include one of the following: § Copy of Official High School Transcript showing graduation

date. These must be sent directly from the issuing institution to the NYFA Registrar's office

§ Copy of High School Diploma showing graduation date § Copy of official letter confirming General Education Diploma

(GED) § Copy of Official Academic Transcripts from a prior accredited

college or university showing that admission was based on graduation from High School. These must be sent directly from the issuing institution to the NYFA Registrar's Office

§ Copy of a College or University Diploma showing graduation date

§ Copy of Official Transcript indicating Associate’s, Bachelor’s, Master’s or Doctorate Degree

Accreditation & Transcripts The New York Film Academy is proudly affiliated with Endicott College in Beverly, Massachusetts, which is regionally accredited by the New England Association of


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Schools and Colleges (NEASC) and is the school of record for NYFA’s international programs. Students studying at our programs in Florence, Paris, Beijing, and Gold Coast have the opportunity to receive transcripts issued by Endicott College offering transferability of credits to other regionally accredited institutions of higher education in the U.S.* The following Endicott College NEASC transcript fees are in addit ion to tuition and housing costs: Short-Term Workshops: $180 (Eight-Week & Under) Semester or Academic Year Abroad: $380 If students wish to receive a regionally accredited transcript from Endicott College, they should submit verification of Identification/copy of a valid government issued ID. Applicants must submit of one of the following:

• Copy of a state-issued driver’s license or ID card • Copy of a valid passport • Copy of Department of Defense ID card

*Please note: The New York Film Academy makes no representation that credits awarded by the New York Film Academy or Endicott College will be accepted or applied toward the completion of any degree or certificate by any other postsecondary institution. The acceptance of transfer credits is always governed by the receiving school and students should check in advance with the school to which they wish to transfer credits that they will be accepted.


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NYFA STUDY ABROAD OVERVIEW The New York Film Academy (NYFA) is delighted to provide the opportunity for students to study filmmaking and acting— for U.S. regional credits through our school of record Endicott College— at our four exciting permanent international locations: Paris, France; Florence, Italy; Beijing, China; and Gold Coast (Queensland), Australia. The programs range from one week to one semester and provide a unique experience that is not had in a typical classroom setting—students interact with people and cultures on a daily basis by immersing themselves in filmmaking, acting, animation, screenwriting, and producing programs and use the host city and country, as their film set and location shoots. NYFA’s study abroad courses are open to students in all disciplines. Whether they are already budding filmmakers or actors, whether they want to learn how films are made, or what it takes to create a performance, students benefit from taking part in NYFA’s hands-on and intensive training programs. We welcome study abroad students who want to capitalize on the opportunity to integrate filmmaking, acting, and other visual arts disciplines with an international cultural experience. In addition to acting and filmmaking students, NYFA’s study abroad programs draw U.S. students from all relevant disciplines who are seeking the benefits of a hands-on and intensive arts education. Locations: Each of NYFA’s four programs are situated in the most premiere settings in their cities: NYFA Florence is in the heart of the historic center of Florence and directly across from Basilica di San Lorenzo and the Medici Chapel, and is also steps away from the Duomo; the NYFA Paris program is held in the facilities of La Fémis film school, which is one of the most prestigious films schools in the world, and located in the artistic Montmartre area; NYFA Gold Coast’s state-of-the-art campus is in the heart of Southport and also has production studios within the world-class, Village Roadshow Studios backlot; and the NYFA Beijing program is located in the lovely Haidian district not far from historic attractions such as the Great Wall of China and the Forbidden City. Faculty: Our diverse international faculty is comprised of highly experienced NYFA instructors who are also industry professionals. They have award-winning credentials and hold degrees from the most prestigious universities in the United States and throughout the world. Financial Aid:


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Applicants are required to meet with the financial aid office at their home institution regarding financial aid eligibility questions. NYFA will provide the required documentation after authorization by the applicant to the home institution for all financial aid eligibility. Student Body: While English is the language of instruction at all NYFA locations and in all coursework, we welcome students from all over the world, and have done so since the school’s inception. The multiplicity of global students means that U.S. students will not be studying in an American “bubble” as is the case with many study abroad programs, offered by U.S. schools and universities. The NYFA environment offers a true international experience thanks to the richness of the convergence of so many varied cultures. U.S. students will interact with local communities and citizens to organize their productions and shoot their films. NYFA’s U.S. students will work alongside many international students who have English as second language. Equipment: Students in the filmmaking workshop will use HD cameras such as the Canon 5D Mark III and portable Lowel lighting packages for every project. Qualified students may have the opportunity to use more advanced equipment such as the RED Scarlet Camera. All students will edit using digital editing software. Benefits : Studying abroad is an important educational and cultural experience, and research indicates that students with a study abroad experience are more attractive to employers post-graduation. At NYFA, students receive hands-on experience under the guidance of stellar instructors and are located in the most desirable locations. In each location and on every campus, the NYFA Study Abroad programs have staff and Directors who are country nationals, are well-connected and respected in the host communities, and are highly trained in the filmmaking crafts and are trained in meeting U.S. student needs. NYFA’s unique programming allows students to capitalize on the opportunity to integrate filmmaking, acting, and other visual arts disciplines with a truly international cultural experience. Any student who wants the opportunity to study intensive filmmaking, acting, or another visual arts discipline, while having a unique international cultural experience will benefit from any NYFA study abroad program. Our programs are all-encompassing and even those students who have no knowledge in these subjects will leave having learned valuable life skills.


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New York Film Academy (NYFA) FLORENCE, ITALY

Prospectus: The NYFA Florence, Italy Study Abroad Program The New York Film Academy (NYFA) has been successfully providing unique summer study programs in Florence since 2003 and has welcomed more than 2,000 students from nearly 40 countries into the program. Location In 2008, the Government of Tuscany and the Tuscan Film Commission invited NYFA to offer its world-renowned programs in a newly renovated facility overlooking the Piazza San Lorenzo, in the heart of the historic center of Florence. Currently, NYFA operates from a renovated renaissance era building across from the Basilica di San Lorenzo, one of the most significant churches in Florence, which houses the Medici Chapels, the burial place of the principal members of the Medici family. For centuries, Florence has inspired and nurtured artists, writers, musicians, and actors; the city is one of the most important destinations for American students, particularly those in the arts, studying abroad. 500 years ago, Florence was the cradle of the renaissance. If you were an artist, a person in finance, or a liberal, you would have come to Florence. Important and wealthy families, such as the Medici, were philanthropists and made Florence the outdoor walking museum that it is seen as today. NYFA facilities are steps away from the famous Piazza del Duomo, Santa Maria Novella, Ponte Vecchio, and the Galleria, which houses Michelangelo’s David. NYFA is just a block away from the celebrated main food shopping market. There is no U.S. program in Florence that has such a prominent and convenient location. Student Body NYFA traditionally has welcomed mostly European students, including many Italians, to our Florence program. However, students from all over the world have attended. Past program enrollments have been comprised of students from dozens of different countries including India, Thailand, Iran, Macedonia, Jordan, Canada, and Nigeria. Curriculum & Faculty English is the language of instruction at all NYFA locations. NYFA Florence offers programs and courses ranging from one-week to one semester in Filmmaking and Acting


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for Film (Appendix A)—all programs can be taken for U.S. college/university credits. In the fall, NYFA Florence runs a full 12-Week semester. In the spring, we offer an 8-Week program as our semester program. We also offer shorter term 1-Week, 4-Week, and 6-Week workshops for students who are interested in taking a shorter summer course. Our 4-Week workshops are also offered in the spring and fall. As is the case of all New York Film Academy programs worldwide, the courses of study are hands-on and intensive. From the very first day, each student works to make his/her own film. Our diverse international faculty is comprised of experienced instructors and professional filmmakers who have earned their terminal graduate degrees from the most prestigious film programs in the United States. The instructors at NYFA Florence are faculty from the College’s U.S. campuses in New York, Los Angeles and Miami, and are among the institution’s longest standing and most respected teachers (Page 86) . As well, NYFA Florence often welcomes guest lecturers from the Italian and European Filmmaking communities. Florence Housing Florence, besides being a magical place, is very safe and less expensive than many other European cities. NYFA arranges for optional centrally located, and affordable student housing accommodations. The majority of our adult students stay in NYFA apartments. The apartments are close to the Piazza della Signoria and the Ponte Vecchio; there is a wonderful selection of restaurants, cafes and grocery stores convenient to NYFA’s housing. Students live in one or two bedroom apartments that are walking distance from the school. All apartments are shared and private rooms are available upon request. Kitchenettes generally feature an oven, stove and a refrigerator. Features of NYFA Florence Study Abroad Florence, and indeed all of Tuscany, provides perfect open-air sets for shooting movies and learning the craft of filmmaking. Florence’s architecture is breathtaking: monuments, churches, bridges, and ancient statues decorate the city in an incredibly unique way. Magnificent art galleries and the Uffizi Museum contain some of the most famous works of the most important artists in the world. Students are encouraged to scout locations and shoot their films with these amazing venues as backdrops for their movies. Students are also encouraged to explore and utilize other picturesque towns, such as Fiesole, Pisa, Lucca, Siena, and Chianti and to utilize these small towns and the natural environment of Tuscany as their sets—all a short bus or train ride away.


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Enrollment at NYFA Florence provides a true cross-cultural experience: U.S. students work and live with NYFA students from many other countries—learning from them, while offering insights into America and its diversity. Because of its international enrollment, students are able to work together with Italian and international peers. NYFA arts education is valuable for students in many disciplines— assisting them to learn how to tell better stories, how to develop confidence in giving presentations, enhancing their life skills, and their ability to become better listeners--all proficiencies that are applicable in all aspects of academic study and for future professional pursuits. There are many program options for study abroad at the NYFA Florence campus including short-term workshops of various lengths and a semester. (Appendix B). *Addit ional Campus Locat ion , Orientat ion Mater ia l s , and Housing information, i s avai lab le upon request . For more information, please contact: Jim Miller, Vice President of Strategic Affairs +(1) 212-966-3488 x 206 [email protected] Hannah Gilliland, Study Abroad Coordinator +(1) 212-674-4300 x 239 [email protected] [email protected] Or visit our website at www.nyfa.edu or www.nyfa.edu/programs/study-abroad.php


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APPENDIX A: NYFA FLORENCE, ITALY STUDY ABROAD OFFERINGS: SEMESTER PROGRAM IN FILMMAKING The full semester is offered in the fall each year and is 12 weeks in length. Beginning on day one, students participate in an intensive sequence of classes in Film Directing, Screenwriting, Digital Camera Technique, Lighting, Digital Editing, Directing Actors and Production Workshops. They extend and deepen their in-class learning by producing films. Working in crews of three or four, each student writes, produces, directs and edits five films of increasing complexity. In addition, each student fulfills the essential roles of Director of Photography, Assistant Camera Operator, and Gaffer (Lighting Technician) on the films of her/his crewmembers. Thus, everyone has the extensive hands-on experience of working on several short films in the first two months. During the third and fourth weeks, each student directs three digital projects. These projects and in-class production workshops challenge students to explore the dramatic mechanics of motion picture storytelling and the critical collaboration between actors and directors. Goals: Learning

• The art and technique of visual storytelling including editing, directing, cinematography, and post-production sound design.

• The fundamentals of digital video production and digital editing.

• And surveying the narrative format with focus on styles, techniques and elements of storytelling.

• The fundamentals of the acting craft and directing actors. • The fundamentals of the screenwriting craft.

Goals: Production

• Writing, directing, and editing five film projects of increasing complexity. • Crew as cinematographer, gaffer, and/or assistant camera on approximately 15

additional projects. • Write a complete short film screenplay with dialogue. • Collaborate with classmates and instructors in Production Workshop exercises

filmed on HD. • Write, produce, direct, and edit an end of semester digital dialogue project.


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FLORENCE FILMMAKING SEMESTER CURRICULUM

FILM100 Director’s Craft 3 Credits

FILM110 Camera & Lighting 2 Credits

FILM120 Digital Editing 2 Credits

FILM130 Production Workshop 3 Credits

FILM140 Acting for Directors 1 Credit

FILM150 Screenwriting 2 Credits

TOTAL 13 Credits

FLORENCE FILMMAKING SEMESTER COURSE DESCRIPTIONS

DIRECTOR’S CRAFT This is the first part of an in depth study of the methods used by the great directors to affect their audiences and to trigger emotional responses. In this course, students study the fundamentals of the director's palette, including camera placement, blocking, staging, and visual image design, in order to learn the basic building blocks of visual storytelling.

CAMERA & LIGHTING In the first week, students perform test shoots to learn how to get a correct exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they learn fundamental lighting techniques. As students transition to dialogue projects on the Canon 5D, they are taught the principals of shooting and lighting high definition video. The Semester 1 Digital Dialogue project will be shot on this format. Qualified students may be able to utilize advanced cameras such as the RED Scarlet RED Cameras.

DIGITAL EDITING In Digital Editing, students study the

fundamental theories and technical aspects of nonlinear editing. Each student edits his or her own films. Classes are supplemented with individual consultations at the computer.

PRODUCTION WORKSHOP Production workshop is a hands-on class in which students stage and shoot exercises under the supervision of their instructors. Through this in-class practice, students incorporate the rules and tools of framing and continuity learned in other classes. As a supplement to this course, filmmaking students will also study acting and act in these production workshops, preparing themselves to not only communicate and collaborate with their actors, but to draw out the best emotional outcome of a scene.

ACTING FOR DIRECTORS This course adheres to the philosophy that, in order to direct actors, one must understand and experience acting as art and methodology. Directing students will become actors. Students learn how to identify a screenplay’s emotional “beats” and “character objectives” in order to improve


23

their actors’ performances. Students are prepared to not only communicate and collaborate with their actors, but to actualize the best emotional outcome of a scene.

SCREENWRITING This course introduces students to the foundations of screenwriting. Students workshop ideas, write loglines, treatments,

rough drafts, and shooting scripts. Instruction focuses on the essentials of visual storytelling, dramatic structure, and character development. In-class discussion provides students with constructive analysis and support, as students learn to tell their stories visually, rather than through dialogue.

SEMESTER PROGRAM IN ACTING FOR FILM The semester program in Acting for Film concentrates on building a foundation in the craft of acting, using training techniques rooted in the theater but applicable to screen acting. The full semester is offered in the fall each year and is 12 weeks in length. In the 12-week semester students participate in a broad array of core classes that introduce them to finding the actor within, while simultaneously training their instrument to do the kind of technical, emotional, and physical work necessary for film acting. Since we believe that film actors also benefit immeasurably from working in front of a live audience, in addition to work in front of the camera, training in the first semester builds towards a live performance. Goals: Learning

• Understanding the fundamental principles of acting for film. • Grounding in classical scene study and acting techniques. • Learning the fundamentals of script and text analysis. • Surveying and examining film studies from a film actor’s perspective. • Gaining exposure to and practice in a variety of vocal techniques. Goals: Production

• Shoot two monologues. • Shooting in-class, on-camera scenes for critique. • Participating in a Film Craft shoot. • Participate in shoot with filmmaking students

FLORENCE ACTING FOR FILM SEMESTER CURRICULUM

ACTI100 Technique & Scene Study (Plays) 3 Credits

ACTI110 Acting for Film 4 Credits

ACTI120 Voice & Movement 3 Credits

ACTI140 Filmcraft 2 Credits

TOTAL 12 Credits


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FLORENCE ACTING FOR FILM SEMESTER COURSE DESCRIPTIONS

TECHNIQUE & SCENE STUDY (PLAYS) Technique & Scene Study provides students with the preparatory building blocks, which lay a solid foundation from which to go deeper into the craft. They will learn of the rich Acting Technique traditions that have shaped the craft today. Students will learn about their responsibility to the writer, script and fellow students as they analyze their emotional and physical instrument and begin to practice technique exercises which will give them insight into the primary function of the Actor; that of making clear, readable choices for a character in a given imaginary circumstance. Students will practice relaxation, concentration and specificity exercises as well as learn how to prepare emotionally for a performance. Students learn to analyze scripts and break them down into units or ‘beats’. They develop a solid grounding in establishing a character based on their own experiences and imagination. In the course, they will begin to understand the differences between techniques and personal process. The focus of Technique & Scene Study is process not product. Students will work on exercises, monologues and short scenes from plays applying the techniques they have studied.

ACTING FOR FILM This course introduces the beginning Acting for Film student the skills necessary for creating a fully realized performance. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette is also addressed. Students collaborate in a

supervised Production Workshop with film students, which is a full immersion production approach to Acting for Film instruction.

VOICE & MOVEMENT In this course students will begin to develop a free and healthy voice and an awareness of vocal tendencies and adverse conditioning. Various techniques will be taught, including and not limited to, Fitzmaurice Voicework, Knight-Thompson Speechwork, Linklater, Lessac, and Skinner. Through exploration of phonetic sounds and optimal vowel formation a deeper, more precise and nuanced experience of sounds will be felt. Students will experience a more visceral and more direct connection to their voice unimpeded by habitual tension. An ability to connect images while letting the image resonate through the voice with supported breath will be emphasized through working with text. Students will also explore their ability to engage the body in a full and courageously unedited manner as a tool for performance. A focus of this course is to cultivate tools with which the students can externalize their internal life in an authentic manner on impulse and through movement. Various training methods will be taught, including but not limited to Viewpoints, the Suzuki Method, Dance, Yoga, Laban Analysis, Contact Improvisation, Grotowski, and Chekhov Technique. Through immersion in these various techniques this course will provide the foundation of movement analysis and the application of movement exercises to develop the physical life of a character.

FILMCRAFT Filmcraft provides the Acting for Film student


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a full-immersion experience into the world of film production. Students gain basic working knowledge of directing, cinematography, writing, producing and editing, inhabiting crew positions, allowing for real-time

experience on a short in-class shoot, supervised by the instructor.

HANDS-ON & INTENSIVE WORKSHOPS FILMMAKING From the very first day of class, the focus of the workshop is to learn through making films. Each student writes, produces, directs, and edits his or her own films, and rotates among crew positions when his or her classmates shoot. In the One-Week workshop, each student will make one film project. In a Three-Week Filmmaking Workshop, each student will produce two film projects of increasing difficulty, culminating in a film of up to three minutes. In the Four-Week Filmmaking Workshop, each student will produce three film projects of increasing difficulty, culminating in a film of up to four minutes. Six-Week Filmmaking Workshop students will produce four films of increasing difficulty. The final film will be up to six minutes. In the 8-Week Filmmaking workshop students will produce five films. The final film will be up to 10 minutes. Eight-Week Filmmaking Overview Designed for people who wish to study the craft of filmmaking in an intensive environment, the Eight-Week Filmmaking Workshop challenges students to produce five films over a period of two months. For U.S. students the Spring Eight-week workshop is constructed as a short intensive study abroad program. For students with little or no filmmaking experience, the Eight-Week Workshop offers the best of all worlds: focused learning, hands-on film productions, and the opportunity to make a fully-realized final film. The program is divided between hands-on instruction in class and the production by each student of a series of short films of increasing difficulty. Students direct their own projects in three or four person crews. They rotate in the other production positions when fellow crewmembers direct. Special classes in digital camera and lighting are given before students shoot their films. Students use HDSLR cameras, Lowel lighting packages, and digital editing systems to create their individual film projects. Following production and post-production of each film, students screen their work for their classmates and instructors and engage in critiques and discussion. During the second month of the program each student writes, directs, and edits a final


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film of up to ten minutes. Students have a pre-production period to cast, scout locations, plan their final films and meet with instructors for one-on-one consultations. At the end of the course, the final films are celebrated in a screening open to cast, crew, friends and family. All students who successfully complete the workshop leave the program with a digital master copy of all their projects. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this workshop include:

• The ability to work independently and collaboratively in a high-pressure creative environment.

• An in-depth knowledge of Hi-Def DSLR and motion picture production. • The ability to write and pre-visualize a screenplay. • In-depth experience working as a director, producer, assistant director, director

of photography, assistant cameraperson, gaffer, and grip on student productions. • Sufficient mastery of Premiere Digital editing software • Knowledge of and experience with practical application of aesthetic film theory.

PROJECT REQUIREMENTS The Eight-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:

• Project 1 - Mise-en-scène Film • Project 2 - Continuity Film • Project 3 - Music Film • Project 4 - Checkovian • Project 5 - Final Film

FLORENCE 8-WEEK FILMMAKING COURSE DESCRIPTIONS

DIRECTOR’S CRAFT

This is the first part of an in depth study of the methods used by the great directors to affect their audiences and to trigger emotional responses. In this course, students study the fundamentals of the director's palette, including camera placement, blocking, staging, and visual image design, in order to learn the basic building blocks of visual storytelling.

CAMERA & LIGHTING

In the first week, students perform test shoots to learn how to get a correct

exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they learn fundamental lighting techniques. As students transition to dialogue projects on the Canon 5D, they are taught the principals of shooting and lighting high definition video. Qualified students may be able to utilize advanced cameras such as the RED Scarlet RED Cameras.

DIGITAL EDITING In Digital Editing, students study the fundamental theories and technical aspects


27

of nonlinear editing. Each student edits his or her own films. Classes are supplemented with individual consultations at the computer.

PRODUCTION WORKSHOP Production workshop is a hands-on class in which students stage and shoot exercises under the supervision of their instructors. Through this in-class practice, students incorporate the rules and tools of framing and continuity learned in other classes. As a supplement to this course, filmmaking students will also study acting and act in these production workshops, preparing themselves to not only communicate and collaborate with their actors, but to draw out the best emotional outcome of a scene.

ACTING FOR DIRECTORS This course adheres to the philosophy that, in order to direct actors, one must understand and experience acting as art and

methodology. Directing students will become actors. Students learn how to identify a screenplay’s emotional “beats” and “character objectives” in order to improve their actors’ performances. Students are prepared to not only communicate and collaborate with their actors, but to actualize the best emotional outcome of a scene.

SCREENWRITING This course introduces students to the foundations of screenwriting. Students workshop ideas, write loglines, treatments, rough drafts, and shooting scripts. Instruction focuses on the essentials of visual storytelling, dramatic structure, and character development. In-class discussion provides students with constructive analysis and support, as students learn to tell their stories visually, rather than through dialogue.

Six-Week Filmmaking Overview The Six-Week Filmmaking Workshops, in which students each make four films, provides students with a strong foundation in filmmaking. It is a full-time workshop and is divided into two periods. The first three-week period balances course-work and shooting. Classes and hands-on workshops are conducted daily. Filming with classmates as crewmembers occurs during the weekends. As in the other Film Academy workshops, students participate in classes covering directing, writing, cinematography, production, and editing. Students complete two films during the first three weeks, using Hi-Def DSLR cameras, Lowel lighting packages, and digital editing software. After the first three weeks, there is a brief pre-production period for preparation and consultation. At this time, students will have special classes in digital video. The last three weeks are devoted to the writing, producing, directing, and editing of a longer film of seven to ten minutes in length. At the end of the course, the final films are celebrated in a screening open to cast, crew, friends, and family. All students who successfully complete the workshop receive a New


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York Film Academy certificate and leave the program with a digital master copy of all their projects. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:


• An in-depth knowledge of Hi-Def DSLR and motion picture production. • The ability to write and pre-visualize a screenplay. • In-depth experience working as a director, producer, assistant director, director

of photography, assistant cameraperson, gaffer, and grip on student productions. • Sufficient mastery of Premiere Digital editing software to edit a short film of up

to ten minutes in length. • Knowledge of and experience with practical application of aesthetic film theory.

PROJECT REQUIREMENTS: The Six-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:

• Project 1 - Mise-en-scène Film • Project 2 - Continuity Film • Project 3 - Music Film • Project 4 - Final Film


DIRECTOR’S CRAFT


CAMERA & LIGHTING In the first week, students perform test shoots to learn how to get a correct exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they learn fundamental lighting techniques through shooting tests. Students are taught the principals of

shooting and lighting high definition video. Qualified students may be able to utilize advanced cameras such as the RED Scarlet RED Cameras.

DIGITAL EDITING In Digital Editing, students study the fundamental theories and technical aspects of nonlinear editing. Each student edits his or her own films. Classes are supplemented with individual consultations at the computer.

PRODUCTION WORKSHOP Production workshop is a hands-on class in which students stage and shoot exercises under the supervision of their instructors. Through this in-class practice, students incorporate the rules and tools of framing


29

and continuity learned in other classes. As a supplement to this course, filmmaking students will also study acting and act in these production workshops, preparing themselves to not only communicate and collaborate with their actors, but to draw out the best emotional outcome of a scene.

ACTING FOR DIRECTORS This course adheres to the philosophy that, in order to direct actors, one must understand and experience acting as art and methodology. Directing students will become actors. Students learn how to identify a screenplay’s emotional “beats” and “character objectives” in order to improve their actors’ performances.

Students are prepared to not only communicate and collaborate with their actors, but to actualize the best emotional outcome of a scene.


Four-Week Filmmaking Overview The Four-Week Workshop provides students with a thorough introduction to the foundations of film craft. Many students find the one-month length fits conveniently into their yearly schedules. The workshop is a full-time program. Students must be prepared to make a serious commitment to its completion. The Four-Week program is structured around the production of three short films of increasing complexity. Students will be introduced to the traditional concepts of shooting motion picture film and will apply this foundation of knowledge to contemporary practices of shooting with digital technology. All projects will be shot on high-definition digital video cameras. Classes and hands-on workshops are held throughout the week and some weekends are reserved for additional classes or shooting. Time will be required outside of class for writing, location scouting, casting, and editing. The fourth week is devoted to shooting and editing the final film, culminating in the final screening. As in all New York Film Academy workshops, each student writes, directs, shoots and edits a series of short film projects of his or her own using high-definition digital video, film lighting packages, and digital editing software. Classes in directing, writing, editing, cinematography, and production cover the creative and technical demands of telling a story with moving images. Each week all the students’ films are screened and critiqued in class with the instructor. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this workshop include:


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• An in-depth knowledge of Hi-Def DSLR, and motion picture production. PROJECT REQUIREMENTS The Four-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:

• Project 1 - Mise-en-scène Film • Project 2 - Continuity Film • Project 3 - Music Film


DIRECTOR’S CRAFT


CAMERA & LIGHTING In the first week, students perform test shoots to learn how to get a correct exposure, the effect of different lenses, focus pulling, and in-camera effects. In lighting class, they learn fundamental lighting techniques through shooting tests on film. Students are taught the principals of shooting and lighting high definition video. Qualified students may be able to utilize advanced cameras such as the RED Scarlet RED Cameras.

DIGITAL EDITING In Digital Editing, students study the fundamental theories and technical aspects of nonlinear editing. Each student edits his or her own films. Classes are supplemented with individual consultations at the computer.

PRODUCTION WORKSHOP

Production workshop is a hands-on class in which students stage and shoot exercises under the supervision of their instructors. Through this in-class practice, students incorporate the rules and tools of framing and continuity learned in other classes. As a supplement to this course, filmmaking students will also study acting and act in these production workshops, preparing themselves to not only communicate and collaborate with their actors, but to draw out the best emotional outcome of a scene.

ACTING FOR DIRECTORS This course adheres to the philosophy that, in order to direct actors, one must understand and experience acting as art and methodology. Directing students will become actors. Students learn how to identify a screenplay’s emotional “beats” and “character objectives” in order to improve their actors’ performances. Students are prepared to not only communicate and collaborate with their actors, but to actualize the best emotional outcome of a scene.

SCREENWRITING This course introduces students to the


31

foundations of screenwriting. Students workshop ideas, write loglines, treatments, rough drafts, and shooting scripts. Instruction focuses on the essentials of visual storytelling, dramatic structure, and

character development. In-class discussion provides students with constructive analysis and support, as students learn to tell their stories visually, rather than through dialogue.

One-Week Filmmaking Overview The One-Week Filmmaking Workshop is the most intensive, instructional one-week program in filmmaking that can be found at any film school. In one short week, students are instructed in the basics of writing, directing, camera and digital editing, and each student writes, directs, shoots, and edits a short film project. The pace of this one-week course is feverish, and students must be prepared to live and breathe filmmaking for the length of their stay. The program begins with two days of intensive study in camera, writing and directing. On day three, students begin shooting their individual exercises, which they continue shooting on day four. Day five is composed of editing class and post-production, ending with a final screening. In the one-week workshop, each student writes, produces, directs, and digitally edits his or her own film on digital video, and rotates among crew positions when his or her classmates shoot. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:

• Experience working independently and collaboratively in a high-pressure creative environment

• Knowledge of Digital cameras and motion picture production • In-depth experience working as both director and cinematographer on student

production • Experience with Premiere Digital editing software • Knowledge of aesthetic film theory and experience with practical application of

the same PROJECT REQUIREMENTS The One-Week Filmmaking Program requires that each student complete one film project in partial fulfillment of the graduation requirements.

FLORENCE 1-WEEK FILMMAKING COURSE DESCRIPTION

DIRECTOR’S CRAFT The core of the One Week Program, Filmmaking introduces students to the basic principles of writing and directing the short film. As writers, students will shepherd a story from initial idea through the treatment, outline, and finally shooting

script. As directors, students will focus on the fundamentals of visual storytelling. They will learn concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design. Students will be challenged


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to think comprehensively about their film projects in terms of the economic realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats as well as shot selection and composition. This Area of Study will be the forum for preparing, screening and critiquing one short film.

HANDS-ON CAMERA In this Area of Study, students undergo intensive training in the use of Digital video cameras and their accessories. Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.

HANDS-ON EDITING This Area of Study presents students with multiple aesthetic approaches to editing

film and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional discontinuous editing techniques to their work. The Area of Study will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate Premiere editing software, which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.


ACTING FOR FILM The Acting for Film workshops provide students with a foundation in acting skills with a specific focus on acting for film. Classes emphasize the basic elements of the craft of acting using the techniques of Stanislavski, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. Participants audition for the filmmaking student film projects. No significant prior experience or knowledge is assumed. The program brings everyone to the same level very quickly, beginning with the fundamentals, while also filling in the inevitable gaps in the understanding of those with some prior experience. Eight-Week Acting for Film Overview The Eight-Week Acting for Film Workshop is a full-time intensive immersion workshop that takes students from the basic principles of the craft through a broad working understanding of the aesthetic and technical aspects of the medium.


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The basis of this and all other NYFA programs is learning by doing, using a hands-on, practical, experiential approach. Acting for Film and Scene Study are the two principal areas of concentration in this intensive program. These areas coincide in the creation of short, filmed scenes in which students act. The edited scenes are the main projects of the workshop. Monologues, Voice and Movement, and Improvisation serve as support classes. Audition Technique exposes students to cold reading techniques and a discussion of the business of acting and its essential tools. Film Craft exposes students to the roles of the director, cinematographer and editor, the language of film and how films are made, and the effects that these roles have on the choices an actor makes. The program is constructed to deliver a great deal of content in a short time, and is an exceptional opportunity for a total immersion experience for eight weeks. Students who wish to continue their studies have the opportunity to apply credit towards and transfer to a longer program at any point. No significant prior experience or knowledge is assumed. The program brings everyone to the same level very quickly, beginning with the fundamentals while also filling the inevitable gaps in the understanding of those with some prior experience. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:

• Experience working independently and collaboratively in a high-pressure creative environment.

• Knowledge of and experience in the art and craft of acting for film. • Exposure to multiple modern and classical approaches to performance, script

interpretation and character formation.

PROGRAM GOALS:

• Two monologues • One 2-people scenes professionally shot

PROJECT REQUIREMENTS In the Eight-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:

• Scene Study • Technique • Voice • Movement • Acting for Film


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FLORENCE 8-WEEK ACTING FOR FILM COURSE DESCRIPTIONS

TECHNIQUE & SCENE STUDY (PLAYS)

Technique & Scene Study provides students with the preparatory building blocks, which lay a solid foundation from which to go deeper into the craft. They will learn of the rich Acting Technique traditions that have shaped the craft today. Students will learn about their responsibility to the writer, script and fellow students as they analyze their emotional and physical instrument and begin to practice technique exercises which will give them insight into the primary function of the Actor; that of making clear, readable choices for a character in a given imaginary circumstance. Students will practice relaxation, concentration and specificity exercises as well as learn how to prepare emotionally for a performance. Students learn to analyze scripts and break them down into units or ‘beats’. They develop a solid grounding in establishing a character based on their own experiences and imagination. In the course, they will begin to understand the differences between techniques and personal process. The focus of Technique & Scene Study is process not product. Students will work on exercises, monologues and short scenes from plays applying the techniques they have studied.

ACTING FOR FILM This course introduces the beginning Acting for Film student the skills necessary for creating a fully realized performance. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to

maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette is also addressed. Students collaborate in a supervised Production Workshop with film students, which is a full immersion production approach to Acting for Film instruction.

VOICE & MOVEMENT In this course students will begin to develop a free and healthy voice and an awareness of vocal tendencies and adverse conditioning. Various techniques will be taught, including and not limited to, Fitzmaurice Voicework, Knight-Thompson Speechwork, Linklater, Lessac, and Skinner. Through exploration of phonetic sounds and optimal vowel formation a deeper, more precise and nuanced experience of sounds will be felt. Students will experience a more visceral and more direct connection to their voice unimpeded by habitual tension. An ability to connect images while letting the image resonate through the voice with supported breath will be emphasized through working with text. Students will also explore their ability to engage the body in a full and courageously unedited manner as a tool for performance. A focus of this course is to cultivate tools with which the students can externalize their internal life in an authentic manner on impulse and through movement. Various training methods will be taught, including but not limited to Viewpoints, the Suzuki Method, Dance, Yoga, Laban Analysis, Contact Improvisation, Grotowski, and Chekhov Technique. Through immersion in these


35

various techniques this course will provide the foundation of movement analysis and the application of movement exercises to develop the physical life of a character.

FILMCRAFT Filmcraft provides the Acting for Film

student a full-immersion experience into the world of film production. Students gain basic working knowledge of directing, cinematography, writing, producing and editing, inhabiting crew positions, allowing for real-time experience on a short in-class shoot, supervised by the instructor.

Four-Week Acting for Film Overview No matter how beautiful the cinematography or impressive the special effects in a film, audiences are drawn in by the struggles of the characters on screen. On set, dozens of crewmembers whirl about, twelve-kilowatt lights bore into the eyes, focus tape is pulled to the actor's cheek, and the actor is still expected to give a believable and moving performance. The Four-Week Acting for Film Workshop allows students to participate in a short training workshop that demands full immersion into learning the craft of acting. The Four-Week Acting Workshop provides students with a thorough foundation of acting skills with a specific focus on acting for film. Many students find the one-month length fits conveniently into their yearly schedules. The workshop is a full-time program. Students must be prepared to make a serious commitment to its completion. Classes emphasize the basic elements of the craft of acting using Stanislavski's System, Scene Study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:



interpretation and character formation. PROGRAM GOALS:

• One monologue • One 2-people scenes professionally shot

PROJECT REQUIREMENTS In the Four-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:

• Scene Study


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• Technique • Voice • Movement • Acting for Film

FLORENCE 4-WEEK ACTING FOR FILM COURSE DESCRIPTIONS

TECHNIQUE & SCENE STUDY

(PLAYS) Technique & Scene Study provides students with the preparatory building blocks, which lay a solid foundation from which to go deeper into the craft. They will learn of the rich Acting Technique traditions that have shaped the craft today. Students will learn about their responsibility to the writer, script and fellow students as they analyze their emotional and physical instrument and begin to practice technique exercises which will give them insight into the primary function of the Actor; that of making clear, readable choices for a character in a given imaginary circumstance. Students will practice relaxation, concentration and specificity exercises as well as learn how to prepare emotionally for a performance. Students learn to analyze scripts and break them down into units or ‘beats’. They develop a solid grounding in establishing a character based on their own experiences and imagination. In the course, they will begin to understand the differences between techniques and personal process. The focus of Technique & Scene Study is process not product. Students will work on exercises, monologues and short scenes from plays applying the techniques they have studied.

ACTING FOR FILM This course introduces the beginning Acting for Film student the skills necessary for creating a fully realized performance.

The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette is also addressed. Students collaborate in a supervised Production Workshop with film students, which is a full immersion production approach to Acting for Film instruction.

VOICE & MOVEMENT In this course students will begin to develop a free and healthy voice and an awareness of vocal tendencies and adverse conditioning. Various techniques will be taught, including and not limited to, Fitzmaurice Voicework, Knight-Thompson Speechwork, Linklater, Lessac, and Skinner. Through exploration of phonetic sounds and optimal vowel formation a deeper, more precise and nuanced experience of sounds will be felt. Students will experience a more visceral and more direct connection to their voice unimpeded by habitual tension. An ability to connect images while letting the image resonate through the voice with supported breath will be emphasized through working with text. Students will also explore their ability to engage the body in a full and courageously unedited manner as a tool for performance. A focus of this course is to cultivate tools


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with which the students can externalize their internal life in an authentic manner on impulse and through movement. Various training methods will be taught, including but not limited to Viewpoints, the Suzuki Method, Dance, Yoga, Laban Analysis, Contact Improvisation, Grotowski, and Chekhov Technique. Through immersion in these various techniques this course will provide the foundation of movement analysis and the application of movement exercises to

develop the physical life of a character.

FILMCRAFT Filmcraft provides the Acting for Film student a full-immersion experience into the world of film production. Students gain basic working knowledge of directing, cinematography, writing, producing and editing, inhabiting crew positions, allowing for real-time experience on a short in-class shoot, supervised by the instructor.

One-Week Acting for Film Overview All students enrolling in the Intensive One-Week Acting for Film Workshop should be aware that this is an introductory course. The limitations of a one-week course should be apparent, given that many people spend years studying and perfecting the craft of acting. The pace of this one-week workshop is demanding and students should be prepared to live, eat and breathe acting for the entire duration of the course. Students should also be prepared to work in non-traditional acting classes emphasizing the construction and control of character given the unique pressures of a film or television shoot. Film or video cameras may be used during particular classes. Acting for film and Scene Study are the two principal areas of concentration in this intensive workshop. These areas coincide in the creation of short, filmed scenes in which students act. The edited scenes are the main projects of the workshop. Scene Study, Voice and Movement, and Film Craft serve as support classes. Audition Technique exposes students to cold reading techniques and a discussion of the business of acting and its essential tools. The basis of this and all other NYFA workshops is learning by doing, using a hands-on, practical, experiential approach. The workshop is constructed to deliver a great deal of content in a short time, and is an exceptional opportunity for a total immersion experience in one week. Students who wish to continue their studies have the opportunity to apply credit towards and transfer to a longer program at any point. The intensive One-Week Acting for Film Workshop was designed to serve the needs of different types of students. For students contemplating a longer-term education in acting for film, it is an excellent introduction. This one-week acting workshop gives students an understanding of the rigorous requirements of the film actor. Many of our one-week students get "bitten by the acting bug" during this workshop; they realize that one week will not fulfill their desire to learn all they can about the craft of acting and, therefore, return to complete a longer course of study.


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EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:



interpretation and character formation. PROJECT REQUIREMENT In the One-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:

• Scene Study • Technique • Voice

• Movement • Acting for Film

FLORENCE 1-WEEK ACTING FOR FILM COURSE DESCRIPTION

ACTING FOR FILM

Acting for Film introduces students to an environment where they can begin to get comfortable acting in front of the camera. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette are also addressed. Students participate in Production Workshop with film students.


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APPENDIX B: NYFA FLORENCE, ITALY-STUDY ABROAD, TUITION & DATES: TUITION & DATES Housing costs are not included in tuition Fi lmmaking Program Semester Program in Filmmaking $12,555 USD** 13 Credits Sep 23, 2018 - Dec 15, 2018 Equipment Fee: $1,300 USD Eight-Week Filmmaking $5,666 USD** 6 Credits Apr 15, 2018 - Jun 16, 2018 Equipment Fee: $1,069 USD Sep 23, 2018 - Nov 17, 2018 Six-Week Filmmaking $4,490 USD** 4 Credits Jul 1, 2018 - Aug 11, 2018 Equipment Fee: $802 USD Four-Week Filmmaking $3,528 USD** 3 Credits Apr 15, 2018 - May 12, 2018 Equipment Fee: $534 USD Jul 1, 2018 - Jul 28, 2018 Sep 23, 2018 - Oct 20, 2018 One-Week Filmmaking $1,603 USD** 1 Credit Jul 29, 2018 – Aug 4, 2018 Equipment Fee: $133 USD Aug 5, 2018 - Aug 11, 2018 Acting Program Semester Program in Acting for Film $12,555 USD 12 Credits September 23, 2018- December 15, 2018 Eight-Week Acting for Film $5,880 USD 6 Credits Apr 15, 2018 - Jun 16, 2018 Sep 23, 2018 - Nov 17, 2018 Four-Week Acting for Film $4,062 USD 3 Credits Apr 15, 2018 - May 12, 2018 Jul 1, 2018 - Jul 28, 2018 Sep 23, 2018 - Oct 20, 2018 One-Week Acting for Film $1,175 USD 1 Credit Jul 29, 2018 - Aug 4, 2018 Aug 5, 2018 - Aug 11, 2018

**Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.


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New York Film Academy (NYFA) PARIS, FRANCE

Prospectus: The NYFA Paris, France Study Abroad Program The New York Film Academy (NYFA) has been successfully providing unique summer study programs in Paris since1998 and has welcomed more than 1,800 students from over 75 countries into the program, including some Americans. Location The New York Film Academy Paris holds its study abroad programs at the National Film School of France (La Fémis), one of world’s most elite film institutes. La Fémis is located in the historic Pathé Studios in the 18th arrondissement. The NYFA summer programs at Le Fémis are held in spacious classrooms, meeting spaces, shooting space, state of the art screening rooms, and, very importantly, a lovely student lounge with an excellent café au lait machine! La Fémis is in Montmartre, which has always been the neighborhood of choice for young artists and actors. It is within walking distance of Sacré Coeur, the glorious cathedral with a hilltop view of all Paris. There are many superior fruit markets, bakeries, and brasseries and restaurants in the neighborhood. The other great neighborhoods, museums, and sites of Paris are easily accessible from Montmartre. Student Body NYFA traditionally has welcomed mostly European students, including many French men and women, to our Paris program. However, students from all over the world have attended. Curriculum & Faculty English is the language of instruction at all NYFA locations. NYFA Paris offers courses of various lengths in Filmmaking and Acting for Film (Appendix A). As is the case of all New York Film Academy programs worldwide, the courses of study are hands-on and intensive. From the very first day, each student works to make his/her own film. Our diverse international faculty is comprised of experienced instructors and professional filmmakers who have earned their terminal graduate degrees from the most prestigious film programs in the United States. The instructors at NYFA Paris are faculty from the College’s U.S. campuses in New York, Los Angeles and Miami, and are


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among the institution’s longest standing and most respected teachers. Locally employed professional filmmakers and actors from France will also teach students who study at NYFA Paris (Page 86) . As well, NYFA Paris often welcomes guest lecturers from the French and European Filmmaking communities. Paris Housing Students may choose to live at the Citadines Hotel, which offers comfortable furnished apartments with kitchens, cable, Internet, Wi-Fi, and maid service. NYFA arranges for optional, simple, centrally-located, housing accommodations. Students live in one or two bedroom apartments that are walking distance from the school. The apartments are also close to the Sacré Coeur Basilica where there is a wonderful selection of restaurants, cafés and grocery stores. All apartments are shared; private rooms are available upon request. Kitchenettes feature an oven, stove, and a fridge. Features of NYFA Paris Study Abroad Paris is an incredibly exciting place to live in and make films. It is the birthplace of the movies and the city that still loves them the most. A century after the first experiments with motion pictures took place there and almost 50 years since the French New Wave changed the way we look at movies, our students continue the tradition of capturing this city and the stories it generates on film. We have found that New York Film Academy students thrive in Paris, and for many, it becomes a second home. In Paris, you can enjoy the delicious food, the brilliant culture, the beautiful art, and also choose from a greater choice and variety of movies to see per capita than in any other city in the world. Paris has also been the site of countless movie productions, as well: The Children of Paradise, An American in Paris, The 400 Blows, Breathless, Diva, and Midnight in Paris to name but a few. Students will take advantage of the great cultural monuments such as the Luxembourg Palace and Gardens, the Pantheon, the Louvre, Notre Dame, and the Orsay Museum, home of the great Impressionist works of art. Paris offers our students a stimulating environment that lets their creativity flow. Sidewalk cafés flourish, beckoning the aspiring writer to join the ranks of Joyce, Beckett, Miller, Sartre, Truffaut, and Godard. Enrollment at NYFA Paris provides a true cross-cultural experience: U.S. students work and live with NYFA students from many other countries—learning from them, while offering insights into America and its diversity. Because of its international enrollment, students are able to practice other languages and work together with French and international peers. NYFA’s arts education is valuable for students in many disciplines—assisting them to learn how to tell better stories, how to develop confidence in giving presentations,


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enhancing their life skills, and their ability to become better listeners—proficiencies that are applicable in all aspects of academic study and for future professional pursuits. There are many program options for spring and summer study abroad at the NYFA Paris campus, including short-term workshops of various lengths (Appendix B) . *Addit ional Campus Locat ion, Orientat ion Mater ia l s , and Housing information, i s avai lab le upon request . For more information, please contact: Jim Miller, Vice President of Strategic Affairs +(1) 212-966-3488 x 206 [email protected] Hannah Gilliland, Study Abroad Coordinator +(1) 212-674-4300 x 239 [email protected] [email protected] Or visit our website at www.nyfa.edu or www.nyfa.edu/programs/study-abroad.php


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APPENDIX A: NYFA PARIS, FRANCE STUDY ABROAD OFFERINGS HANDS-ON & INTENSIVE WORKSHOPS FILMMAKING From the very first day of class, the focus of the workshop is to learn through making films. Each student writes, produces, directs, and edits his or her own films, and rotates among crew positions when his or her classmates shoot. In the One-Week workshop, each student will make one film project. In a Three-Week Filmmaking Workshop, each student will produce two film projects of increasing difficulty, culminating in a film of up to three minutes. In the Four-Week Filmmaking Workshop, each student will produce three film projects of increasing difficulty, culminating in a film of up to four minutes. Six-Week Filmmaking Workshop students will produce four films of increasing difficulty. The final film will be up to six minutes. Six-Week Filmmaking Overview The Six-Week Filmmaking Workshops provide students with a strong foundation in filmmaking in which they each make four films. The workshop is held in a variety of locations during the summer. It is a full-time workshop and is divided into two periods. The first three-week period balances course-work and shooting. Classes and hands-on workshops are conducted daily. Filming with classmates as crewmembers occurs during the weekends. As in the other Film Academy workshops, students participate in classes covering directing, writing, cinematography, production, and editing. Students complete two films during the first three weeks, using Hi-Def DSLR cameras, Lowel lighting packages, and digital editing software. After the first three weeks, there is a brief pre-production period for preparation and consultation. At this time, students will have special classes in digital video. The last three weeks are devoted to the writing, producing, directing, and editing of a longer film of seven to ten minutes in length. At the end of the course, the final films are celebrated in a screening open to cast, crew, friends, and family. All students who successfully complete the workshop receive a New York Film Academy certificate and leave the program with a digital master copy of all their projects. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:


• An in-depth knowledge of Hi-Def DSLR and cameras, and motion picture


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production. • The ability to write and pre-visualize a screenplay. • In-depth experience working as a director, producer, assistant director, director

of photography, assistant cameraperson, gaffer, and grip on student productions. • Sufficient mastery of Avid Digital editing software to edit a short film of up to

ten minutes in length. • Knowledge of and experience with practical application of aesthetic film theory.

PROJECT REQUIREMENTS The Six-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:

• Project 1 - Mise-en-scène • Project 2 - Continuity Film • Project 3 - Music Film • Project 4 - Final Film

PARIS 6-WEEK FILMMAKING COURSE DESCRIPTIONS

DIRECTOR’S CRAFT

The core of the Six Week Program, this Area of Study introduces students to all major aspects of filmmaking. Students will learn to concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design. Students will be challenged to think comprehensively about their film projects in terms of the economic realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats, shot selection and composition, and budgeting and scheduling. Directing will be the forum for preparing, screening and critiquing three short films.

HANDS-ON CAMERA & LIGHTING Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress through the program, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.

EDITING Editing presents students with multiple aesthetic approaches to editing film and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional discontinuous editing techniques to their work. Editing will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate Avid editing software, which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.

WRITING Writing introduces the established tools and language used in writing a film project. Students will take a story from initial idea to script with an emphasis on the fundamentals of visual storytelling. The intersection of story structure, theme, character, tension, and conflict is examined through detailed scene analysis. In-class discussion provides students with constructive analysis and support. Students are encouraged to tell their stories visually, rather than relying on dialogue.


45

Four-Week Filmmaking Overview The Four-Week Workshop provides students with a thorough introduction to the foundations of film craft. Many students find the one-month length fits conveniently into their yearly schedules. The workshop is a full-time program. Students must be prepared to make a serious commitment to its completion. Students will make three films in the course of four weeks. The Four-Week program is structured around the production of three short films of increasing complexity. Students will be introduced to the traditional concepts of shooting motion picture film and will apply this foundation of knowledge to contemporary practices of shooting with digital technology. All projects will be shot on high-definition digital video cameras. Classes and hands-on workshops are held throughout the week and some weekends are reserved for additional classes or shooting. Time will be required outside of class for writing, location scouting, casting, and editing. The fourth week is devoted to shooting and editing the final film, culminating in the final screening. As in all New York Film Academy workshops, each student writes, directs, shoots and edits a series of short film projects of his or her own, using high-definition digital video, film lighting packages, and digital editing software. Classes in directing, writing, editing, cinematography, and production cover the creative and technical demands of telling a story with moving images. Each week all the students’ films are screened and critiqued in class with the instructor. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this workshop include:


• An in-depth knowledge of Hi-Def DSLR and motion picture production. PROJECT REQUIREMENTS The Four-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:



DIRECTOR’S CRAFT

The core of the Four Week Program, this Area of Study introduces students to all major aspects of filmmaking. Students will

learn to concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design.


46

Students will be challenged to think comprehensively about their film projects in terms of the economic realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats, shot selection and composition, and budgeting and scheduling. This Area of Study will be the forum for preparing, screening and critiquing three short films.

HANDS-ON CAMERA & LIGHTING Students undergo intensive training in the use HD Digital motion picture cameras and their accessories. Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress through the workshop, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.

EDITING This Area of Study presents students with multiple aesthetic approaches to editing film

and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional discontinuous editing techniques to their work. The Area of Study will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate Avid Digital editing software which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.

WRITING This Area of Study introduces the established tools and language used in writing a film project. Students will take a story from initial idea to script with an emphasis on the fundamentals of visual storytelling. The intersection of story structure, theme, character, tension, and conflict is examined through detailed scene analysis. In-class discussion provides students with constructive analysis and support. Students are encouraged to tell their stories visually, rather than relying on dialogue.

Three-Week Filmmaking Overview This Three-Week Workshop provides students with a thorough introduction to the foundations of film craft. Many students find the three-week length fits conveniently into their yearly schedules. The workshop is a full-time program. Students must be prepared to make a serious commitment to its completion. Students will make two films in the course of three weeks. Classes and hands-on workshops are held throughout the week and some weekends are reserved for additional classes or shooting. Evenings are spent on writing, location scouting, casting, and editing. The third week is devoted to shooting and editing the final film, culminating in the final screening. As in all New York Film Academy workshops, each student writes, directs, shoots and edits a series of short film projects of his or her own using Canon 5D Mark II digital cameras, Lowel lighting packages, and digital editing software. Classes in directing, writing, editing, cinematography, and production cover the creative and technical demands of telling a story with moving images. Each week all the students'


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films are screened and critiqued in class with the instructor. PROJECT REQUIREMENTS The Three-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:

• Project 1 - Mise-en-scène Film • Project 2 – Continuity/Music Film


DIRECTOR’S CRAFT

Director’s Craft introduces students to the language and craft of filmmaking. Topics that are covered include camera movement, pacing, composition, continuity, montage, storyboarding, and rhythm.

WRITING

This course is designed to help students develop their scripts for their final films. Students will be instructed in story structure, dramatic arc, creating characters, text and subtext, refining stories, and scriptwriting style.

EDITING Editing is an art unto itself. Regardless of the editing system a filmmaker uses, it is the editor’s ability to work with the shots and tell a story that makes all the difference. Each student edits his or her own films using professional editing software and can supplement classes with individual consultations at the editing station. Students are taught the fundamental concepts of film editing, both practical and aesthetic.

HANDS-ON CAMERA/LIGHTING

Students undergo intensive training in the use HD Digital motion picture cameras and their accessories. Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress through the workshop, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.

PRODUCTION WORKSHOP

The Production Workshop is designed to demystify the craft of filmmaking. It is a hands-on class in which students stage and shoot exercises under the supervision of the instructor. The technical aspects of filmmaking are seen as tools to realize the story. The guiding idea is that once students can articulate the objective of a given scene, the necessary craft and techniques will follow. Through the in-class exercises, the rules and tools of mise-en-scène and continuity are defined and practiced.

One-Week Filmmaking Overview The One-Week High-Definition Filmmaking Workshop is the most intensive, instructional one-week program in filmmaking that can be found at any film school. In one short week, students are instructed in the basics of writing, directing, camera and digital editing, and each student writes, directs, shoots, and edits a short film project.


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The pace of this one-week course is feverish, and students must be prepared to live and breathe filmmaking for the length of their stay. The program begins with two days of intensive study in camera, writing and directing. On day three, students begin shooting their individual exercises, which they continue shooting on day four. Day five is composed of editing class and post-production, ending with a final screening. In the one-week workshop, each student writes, produces, directs, and digitally edits his or her own film on digital video, and rotates among crew positions when his or her classmates shoot. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:

• Experience working independently and collaboratively in a high-pressure creative environment

• Knowledge of Digital cameras and motion picture production • In-depth experience working as both director and cinematographer on student

production • Experience with Avid Digital editing software • Knowledge of aesthetic film theory and experience with practical application of

the same PROJECT REQUIREMENTS The One-Week Filmmaking Program requires that each student complete one film project in partial fulfillment of the graduation requirements:

• Project 1 - Continuity 101

PARIS 1-WEEK FILMMAKING COURSE DESCRIPTION

DIRECTOR’S CRAFT The core of the One Week Program, Filmmaking introduces students to the basic principles of writing and directing the short film. As writers, students will shepherd a story from initial idea through the treatment, outline, and finally shooting script. As directors, students will focus on the fundamentals of visual storytelling. They will learn concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design. Students will be challenged to think comprehensively about their film projects in terms of the economic

realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats as well as shot selection and composition. This Area of Study will be the forum for preparing, screening and critiquing one short film.

HANDS-ON CAMERA & LIGHTING In this Area of Study, students undergo intensive training in the use of Digital video cameras and their accessories. Through hands-on workshops and film tests, they will also learn fundamental lighting techniques. As they progress, they learn how to support the mood


49

of the story with lighting choices and they experiment with expressive lighting styles.

HANDS-ON EDITING This Area of Study presents students with multiple aesthetic approaches to editing film and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional

discontinuous editing techniques to their work. The Area of Study will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate Avid editing software, which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.

ACTING FOR FILM The Acting for Film workshops provides students with a foundation of acting skills with a specific focus on acting for film. Classes emphasize the basic elements of the craft of acting using the techniques of Stanislavski, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. The participants audition for the filmmaking student film projects. No significant prior experience or knowledge is assumed. The program brings everyone to the same level very quickly, beginning with the fundamentals while also filling in the inevitable gaps in the understanding of those with some prior experience. Four-Week Acting for Film Overview No matter how beautiful the cinematography or impressive the special effects in a film, audiences are drawn in by the struggles of the characters on screen. On set, dozens of crewmembers whirl about, twelve-kilowatt lights bore into the eyes, focus tape is pulled to the actor's cheek, and the actor is still expected to give a believable and moving performance. The Four-Week Acting for Film Workshop allows students to participate in a short training workshop that demands full immersion into learning the craft of acting. The Four-Week Acting Workshop provides students with a thorough foundation of acting skills with a specific focus on acting for film. Many students find the one-month length fits conveniently into their yearly schedules. The workshop is a full-time program. Students must be prepared to make a serious commitment to its completion. Classes emphasize the basic elements of the craft of acting using Stanislavski's System, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. Each student will shoot a scene and a monologue, which will be screened at the end of the program. Students will have footage of this before they leave.


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EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:



interpretation and character formation. PROJECT REQUIREMENTS In the Four-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:


PARIS 4-WEEK ACTING FOR FILM COURSE DESCRIPTIONS

ACTING FOR FILM

Acting for Film provides students an environment to get comfortable acting in front of the camera. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette are also addressed. Students participate in Production Workshop with film students. In the Production workshop, students experience on-set shoots in collaboration with student filmmakers. Students are introduced to a first-hand experience in set etiquette, shooting out of sequence and understanding the actor’s role in a shoot.

SCENE STUDY Students learn to analyze scripts and break them down into units or “beats”. They develop a solid grounding in establishing a character based on their own experiences and imagination. Students will incorporate all of

the disparate disciplines learned in all other Areas of Study in an in-class, filmed scene presentation.

ACTING TECHNIQUE Students will practice the tools necessary to hone and focus their acting skills when they do not have a scene partner on which to rely. Students will work on monologues from theatre and film sources that will help them learn how to command attention at auditions and professional performances. Exercises will be taped for in-class critique.

MOVEMENT Students experiment with different ways of becoming physically “present” in their work. Elements of various approaches will be taught to assist students in finding freedom and expression in the physical instrument.

VOICE Students learn to access the natural voice through relaxation exercises designed to improve alignment and alleviate habitual


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tension. Students will work on assigned and chosen monologues to practice text analysis, and character creation skills learned thus far. Students will understand the structure and

particular elements, which make a successful monologue and prepare pieces to be audition ready.

Three-Week Acting for Film Overview The three-week workshop emphasizes the theory and practice of the acting craft. Students study various acting methods and techniques, and learn to apply those lessons to scene work for both stage and film. As with the NYFA four and six-week workshops, classes emphasize the basic elements of Stanislavski's system, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. Participants will develop the ability to break down scenes into beats, transitions and preparation questions, perform with confidence in their physical and vocal instincts, and demonstrate the capacity to perform with honesty and specificity. Each student will shoot a scene and a monologue, which will be screened at the end of the program. Students will have footage of this before they leave. One-Week Acting for Film Overview All students enrolling in the Intensive One-Week Acting for Film Workshop should be aware that this is an introductory course. The limitations of a one-week course should be apparent, given that many people spend years studying and perfecting the craft of acting. The pace of this one-week workshop is demanding and students should be prepared to live, eat and breathe acting for the entire duration of the course. Students should also be prepared to work in non-traditional acting classes emphasizing the construction and control of character, given the unique pressures of a film or television shoot. Film or video cameras may be used during particular classes. Acting for film and Scene Study are the two principal areas of concentration in this intensive workshop. These areas coincide in the creation of short, filmed scenes in which students act. The edited scenes are the main projects of the workshop. Scene Study, Voice and Movement, and Film Craft serve as support classes. Audition Technique exposes students to cold reading techniques and a discussion of the business of acting and its essential tools. The basis of this and all other NYFA workshops is learning by doing, using a hands-on, practical, experiential approach. The workshop is constructed to deliver a great deal of content in a short time, and is an exceptional opportunity for a total immersion


52

experience in one week. Students who wish to continue their studies have the opportunity to apply credit towards and transfer to a longer program at any point. The intensive One-Week Acting for Film Workshop was designed to serve the needs of different types of students. For students contemplating a longer-term education in acting for film, it is an excellent introduction. This one-week acting workshop gives students an understanding of the rigorous requirements of the film actor. Many of our one-week students get "bitten by the acting bug" during this workshop; they realize that one week will not fulfill their desire to learn all they can about the craft of acting and, therefore, return to complete a longer course of study. Each student will shoot a monologue, which will be screened at the end of the program. Students will have footage of this before they leave. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:



interpretation and character formation. PROJECT REQUIREMENTS In the One-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:


PARIS 1-WEEK ACTING FOR FILM COURSE DESCRIPTIONS

ACTING FOR FILM

Acting for Film introduces students to an environment where they can begin to get comfortable acting in front of the camera. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set

terminology and etiquette are also addressed. Students participate in Production Workshop with film students.

SPECIAL TOPICS Special Topics offers students the opportunity to explore key acting topics in an in-depth lecture format. Topics covered relate to the craft and/or industry and give students current insights to apply to a career or further studies.


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APPENDIX B: NYFA PARIS, FRANCE-STUDY ABROAD TUITION & DATES: TUITION & DATES Housing costs are not included in tuition Fi lmmaking Program Six-Week Filmmaking $4,490 USD** 4 Credits Jul 8, 2018 - Aug 18, 2018 Equipment Fee: $802 USD Four-Week Filmmaking $3,528 USD** 3 Credits Jul 8, 2018 - Aug 4, 2018 Equipment Fee: $534 USD Three-Week Filmmaking $2,500 USD** 2 Credits Jul 8, 2018 - Jul 28, 2018 Equipment Fee: $500 USD Jul 29, 2018 - Aug 18, 2018 One-Week Filmmaking $1,603 USD** 1 Credit Aug 5, 2018 - Aug 11, 2018 Equipment Fee: $133 USD Aug 12, 2018 - Aug 18, 2018 Acting Program Four-Week Acting for Film $4,062 USD 3 Credits Jul 8, 2018 - Aug 4, 2018 Three-Week Acting for Film $2,800 USD 2 Credits Jul 8, 2018 - Jul 28, 2018 Jul 29, 2018 - Aug 18, 2018 One-Week Acting for Film $1,175 USD 1 Credit Aug 5, 2018 - Aug 11, 2018 Aug 12, 2018 - Aug 18, 2018 **Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.


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New York Film Academy (NYFA) GOLD COAST, AUSTRALIA

Prospectus: The NYFA Australia Study Abroad Programs New York Film Academy Australia is approved and accredited by the Australian Skills Quality Authority (ASQA) and accepted by the Australian Commonwealth Register of Institutions and Courses for Overseas Students (CRICOS). NYFA Australia is proud to offer hands-on, intensive visual and performing arts programs in one of the epicenters of the filmmaking industry in Australia—the Gold Coast. The NYFA Gold Coast campus has been operating for the past five years. Locations Australia is known for its extraordinary landscapes, laid-back cities, stunning beaches, rich cultural history, and a welcoming friendly society. Australia is considered one of the safest countries in the world to visit and in live and advocates an all-around healthy lifestyle. NYFA Australia’s Gold Coast (Queensland) campus is located in Southport at a state of the art facility. In addition to having the opportunity to do production work in the backlot of the renowned Village Roadshow Studies, students will also be able to benefit from additional facilities at our Southport location. Village Roadshow Studios is adjacent to Warner Bros Movie World. A vibrant and inspiring location, NYFA students are provided unique hands-on programs that are enhanced by the film industry environment surrounding the School. Village Roadshow Studios have been the location for many Hollywood films including San Andreas, Unbroken, Pirates of the Caribbean–Dead Men Tell No Tales, The Shallows, and Kong: Skull Island, among many others. Southport is the leading Educational and Creative Arts precinct of the Gold Coast. Due to its proximity to the light rail transport and other student service amenities (libraries, shopping centers, immigration services, cafes, and restaurants), this is an ideal and convenient space for our students. The facility is located directly across from the Gold Coast Broadwater with a popular waterfront promenade, large estuary and attractive parklands. Brisbane, the capital of Queensland, is a short drive north, and offers easy access to a variety of natural and artistic attractions and scenery, including Queensland Gallery of Modern Art, Queensland Museum and Sciencentre, beautiful Moreton Bay, Sunshine Coast, and Byron Bay.


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The Gold Coast boasts a diverse landscape, offering some of the best locations in the world for making and studying film. Golden beaches, tropical rainforests, rugged country and a modern city skyline are just some of the backdrops that keep the biggest filmmakers in the world coming back to the Gold Coast. With an average of 300 days of sunshine ever year, this region is commonly known as “beautiful one day, perfect the next” and as a surfer’s paradise. Famous for its 50 mile coastline of glorious, sandy white beaches, the Gold Coast is also home to about 250,000 acres of world-heritage listed rainforest, filled with exotic animals and plant life. Some of the largest roller coasters in the southern hemisphere can be found at many of Gold Coast’s exciting theme parks: Warner Bros Movie World, Sea World, Wet’n’Wild, and Dreamworld. Currumbin Wildlife Sanctuary is very popular with visitors who can hug a koala and hand feed kangaroos. The Gold Coast is truly an exciting study destination for students to immerse themselves in Australia’s unique culture and relaxed lifestyle. Student Body NYFA Australia welcomes students from all over the world. The current student body is comprised primarily of students from Australia, with a small percentage of European and Asian students. Combining local Australian culture with diverse multi-cultural students provides participants with the best of local and international experiences. The exposure to a variety of global students means that U.S. students will not be studying in an American “bubble” as in many programs, including faculty-led study abroad semester/Academic Year Abroad programs offered by U.S. schools and universities. The NYFA milieu offers a true international experience. U.S. students will interact with their multi-cultural counterparts to organize their productions. Curriculum English is the language of instruction at all NYFA locations. NYFA Australia offers courses of various lengths in filmmaking and acting for film (Appendix A). These programs vary in dates and length (Appendix B). As is the case of all New York Film Academy programs worldwide, the courses of study are hands-on. From the very first day, each student works to make his/her own project. All programs are run Monday through Friday; however, film projects are shot on the weekends. In addition, some classes may be held on Saturdays. Schedules are rigorous, but


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students will have ample opportunity to explore the nearly infinite cultural offerings surrounding the campuses. The long-term and short-term workshops have an open enrollment. No previous experience is required. However, students who enroll should be prepared to fully commit to their work during the course of their studies. Given the nature of filmmaking and the necessity of working in crews, students must be willing to devote themselves not only to their own projects, but to their classmates' projects, as well. As space is limited, we recommend early application to guarantee a place in the program of your choice. Faculty Our diverse international faculty is comprised of experienced instructors and professional filmmakers who have earned their terminal graduate degrees from the most prestigious film programs in the United States and throughout the world (Page 86) . As well, NYFA Australia often welcomes guest lecturers from the Australian and U.S. filmmaking communities. Housing There are many housing options available in the Gold Coast and near the Southport Campus for both long and short-term stays. Temporary student accommodation is easily available and NYFA AU’s campus is within walking distance of major public transportation. NYFA AU often recommends SPC Towers, which is right above the Southport campus. Short term and long-term leases are available. Additionally, a Homestay experience is a very popular option for international students studying in the Gold Coast. Living with a host family provides a true cultural exchange between the student “visitor” and the local “host”, and can lead to life-long friendships and collaborations. Features of NYFA Austral ia Study Abroad No other study abroad program provides the hands-on and intensive filmmaking programs in the way NYFA does. A New York Film Academy arts education is valuable for students in many disciplines—assisting them to learn how to tell better stories, how to develop confidence in giving presentations, enhancing their life skills, and their ability to become better listeners—all proficiencies that are applicable in all aspects of academic study and for future professional pursuits. Students of the Film Academy will not only be able to personally experience these rich cities, but also will be able to take advantage professionally of the beauty and resources that


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the Gold Coast has to offer. We think you will find that Australia is an amazing country in which to live and a truly extraordinary place to create. *Addit ional Campus Locat ion, Orientat ion Mater ia l s , and Housing information, i s avai lab le upon request . For more information, please contact: Jim Miller, Vice President of Strategic Affairs +(1) 212-966-3488 x 206 [email protected] Hannah Gilliland, Study Abroad Coordinator +(1) 212-674-4300 x 239 [email protected] [email protected] Or visit our website at www.nyfa.edu or www.nyfa.edu/programs/study-abroad.php


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APPENDIX A: NYFA AUSTRALIA STUDY ABROAD OFFERINGS ONE SEMESTER PROGRAM IN FILMMAKING Students in the New York Film Academy Australia’s One Semester Filmmaking Program receive countless hours of hands-on instruction and actual production experience during the 12-week program. The curriculum integrates intensive study in all the major filmmaking disciplines including cinematography, directing, screenwriting, producing, and editing. Students write, shoot, direct, and edit four of their own HD short films (including a final film). All projects are edited digitally. The One Semester Filmmaking Program is for people who have the passion to plunge into full-time filmmaking, and to commit themselves to a focused and demanding curriculum. No previous filmmaking experience is required. However, participants must work with self-discipline, energy, and mutual respect. Beginning on day one, students participate in an intensive sequence of classes in Film Directing, Screenwriting, Camera Technique, Lighting, and Digital Editing. They extend and deepen their in-class learning by producing their own short films. Working in crews of three or four, each student writes, produces, directs, and edits four films of increasing complexity. In addition, each student fulfills the essential roles of Director of Photography, Assistant Camera Operator, and Gaffer (Lighting Technician) on the films of her/his crewmembers. Thus, everyone has the extensive hands-on experience of working on up to 12 short films in the first two months. In the One Semester Filmmaking Program students are placed with the Diploma of Screen and Media in Filmmaking students for the first eight weeks of their program. During the last four weeks students will break from the Diploma program and participate in their own group. Students will also participate in additional production workshops on some weekends. During their stay, students are introduced to new digital video technology. With its ease of use, the digital video cameras will allow the students to immediately delve deeper into the director's craft. The projects produced, as well as the in-class production workshops, challenge students to explore the dramatic mechanics of motion picture storytelling and the critical collaboration between actors and directors. Supporting classes include Screenwriting, Directing, Editing and Safety on Set. Learning Goals

• Learn the art and technique of visual storytelling including directing, cinematography, editing.

• Learn the fundamentals of digital video production and digital editing. • Immersion in screenwriting craft.


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Production Goals • Write, direct, and edit 4 films of increasing complexity building your visual

storytelling skills: o Mise-en-scène o Continuity o Music & Montage Film o Non-Sync Film

• Perform key crew positions on your classmates' films including: cinematographer, gaffer, assistant director, and assistant camera.

GOLD COAST FILMMAKING SEMESTER CURRICULUM

SFY0010 Safety on Set 1 Credit FLM0101 Directing 3 Credits FLM0102 Screenwriting 2 Credits FLM0103 Editing 3 Credits FILM140 Acting for Directors 1 Credit FLM0104 Camera 2 Credits FLM0105 Sync Sound Production Studio 2 Credits Total 14 Credits

GOLD COAST FILMMAKING SEMESTER COURSE DESCRIPTIONS

SAFETY ON SET

The diversity of roles that exist within the film industry requires an awareness of the work health and safety requirements to establish and maintain a safe working environment and practice. This can apply to a range of internal and external work environments, including workshops, studios, offices, field locations and performance venues and to an equally broad range of employment tasks. These tasks can include: construction, electrical and lighting work, stunt and fight choreography, the use of explosives, the creation of costumes, the application of makeup and prosthetics, working with sound and music, and computer based creative and clerical tasks. The purpose of this subject is to teach the film and performance practitioner to; determine work health and safety requirements in a given environment and

occupation, to help them identify hazards and assess and manage risks, and to monitor and enhance safety of their practice.

DIRECTING Film is driven by ideas, and it is the director who is ultimately responsible for the on-screen realization of those ideas. Directors present a vision, establish outcomes, and then employ a variety of techniques and practices at every stage of a film’s creation in order to achieve their creative objectives. In Directing you will build the skills required to present your ideas and then work collaboratively with cast and crew to bring those ideas effectively to the screen. You will study the fundamentals of the director's palette, including:

• Framing and composition


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• Visual and sound design • Rehearsal, staging and performance • Montage and post-production

To demonstrate your comprehension of these techniques, you will undertake a series of practical filmmaking exercises that focus on the key building blocks of cinematic storytelling. As you will be working in groups, your ability to present and communicate your ideas to cast and crew is essential.

SCREENWRITING This subject, script writing 1 is delivered in alignment with the other core subjects including director’s craft, cinematography and digital editing and as such is deeply embedded in the creative collaborative process. In this subject, you will conceive, develop, work and re-work the screenplay for your digital dialogue film while engaging in a collaborative exploration of your concept and script with teaching staff and fellow students. In the first semester, you will work through the scriptwriting process, which includes:

• Concept development • Expanding the concept • Building Characters • Synopsis (Short) • Rough draft script • Editing script • Screenwriting Software.

EDITING

In this subject, you will learn to engage with the creative process of editing utilizing digital editing equipment, film theory and aesthetics. In doing you will be able to realize various video projects preparing you to edit and dialogue edit your. You will also gain a broad knowledge of the post-production process, learning how editing relates to the overall production of digital

content, its relationship to other departments within the production process, while also preparing you to work in post-production, paying particular attention to dialogue editing as a practical and creative process while preparing the films you have cut for track lay and mix. You will acquire the knowledge to operate digital editing software to edit video, dialogue and sound, to utilize the program’s effects, audio, titling, color grading and export tools. You will also explore different approaches to editing through film history and criticism, investigating concepts such as temporal and spatial continuity, montage theory, as well as the psychological and emotional effects of editing on the final dramatic content.

CAMERA The students in this subject will be trained in the fundamentals of cinematography and lighting, and focus pulling, become familiar with positions and roles associated with the camera and lighting departments. Most importantly they will gain insight into the role of the Director of Photography (DOP) who is responsible for providing screen productions with their unique visual look, through shot framing, movement and lighting. In this key creative role, they work closely with directors and the camera, lighting and grip crews to achieve the required creative outcomes. SYNC SOUND PRODUCTION STUDIO To be a competent filmmaker, you must have an understanding of the entire film production cycle. During the production workshops, the knowledge of cinematic concepts you have acquired in other subjects will be applied to the practical decisions and activities you will encounter during the


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realization of a film. Through this process you will develop methodologies in the following:

• Script analysis • Directing actors • Rehearsals and scene blocking

• Working with crew • On-set procedures • Health and safety on set

ONE SEMESTER PROGRAM IN ACTING FOR FILM The New York Film Academy Australia’s One Semester Acting for Film Program is unlike any other actor-training program in the world - cutting-edge explorations into the art and practice of acting for the screen. The 12-week semester Acting program includes hands on instruction and requires a complete commitment on the part of the student. A standard week of study involves additional time in the evenings and on weekends, as needed, for classes, rehearsals, and shoots. In the One Semester Acting for Film Program students are placed with the Diploma of Screen and Media in Filmmaking students for the first eight weeks of their program. During the last four weeks students will break from the Diploma program and participate in their own group. Students will also participate in additional production workshops on some weekends. WHAT MAKES OUR ACTING PROGRAMS UNIQUE? PRACTICAL HANDS-ON EXPERIENCE The best way to learn how to act in films is to actually act in films. Our students begin acting in front of the camera from the first week of the program. Every week, students get the opportunity to practice the techniques and skills they have gained in class with exercises that are shot and reviewed. PROFESSIONAL FACULTY Our instructors have extensive experience both nationally and internationally on TV and film, and are professional actors in their own right. FILM PRODUCTIONS Many of our programs feature the production of short films or scenes that are created by and which star our acting students. These are shot and edited together and may be used for students' own reels. FILMMAKING RESOURCES Our Acting for Film and Filmmaking programs work hand-in-hand, giving students the opportunity to experience a wide-array of resources—such as film equipment, live film shoots, and a network of filmmakers, screenwriters, producers, and editors—to assist them in their professional development before they enter the real world.


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REEL MATERIALS All of our students are provided with shot and edited materials that are suitable for inclusion on an actor's reel. The One Semester (12-Week) Acting for Film Program works on building a foundation in the craft of acting, using training techniques rooted in the theater, but applicable to screen acting. Students participate in a broad array of core classes that introduce them to finding the actor within, while simultaneously training their instrument to do the kind of technical, emotional, and physical work necessary for film acting. Since we believe that film actors also benefit immeasurably from working in front of a live audience, in addition to work in front of the camera, training in One Semester (12-Week) Acting for Film Program builds towards a live performance. Learning Goals

• Explore and learn the principles of acting technique. • Learn the vocabulary of filmmaking for actors. • Become familiarized with the logistics of performance on a film set. • Recognize the differences between film acting and stage performance. • Understand how to break down a scene and analyze a character.

Performance Goals

• Rehearse and film scenes to be analyzed and critiqued in class. • Break down, analyze, and rehearse a selected monologue and/or scenes to perform

in front of a live audience.

GOLD COAST ACTING FOR FILM SEMESTER CURRICULUM

SFY0010 Safety on Set 1 Credit ACT0101 Acting for Film 2 Credits ACT0102 Scene Study 2 Credits ACT0150 Intro to Film 2 Credits ACT0104 Acting Techniques 3 Credit FLM0105 Sync Sound Production Studio 2 Credits Total 12 Credits

GOLD COAST ACTING FOR FILM SEMESTER COURSE DESCRIPTIONS

SAFETY ON SET The diversity of roles that exist within the film industry requires an awareness of the work health and safety requirements to establish and maintain a safe working

environment and practice. This can apply to a range of internal and external work environments, including workshops, studios, offices, field locations and performance venues and to an equally broad range of


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employment tasks. These tasks can include: construction, electrical and lighting work, stunt and fight choreography, the use of explosives, the creation of costumes, the application of makeup and prosthetics, working with sound and music, and computer based creative and clerical tasks. The purpose of this subject is to teach the film and performance practitioner to; determine work health and safety requirements in a given environment and occupation, to help them identify hazards and assess and manage risks, and to monitor and enhance safety of their practice.

ACTING FOR FILM The first few weeks of semester will introduce you to the basic mechanics for successful film production. This will include learning how to adjust performance for specific shot size, conducting read-throughs and initial rehearsal techniques to ease self-consciousness in front of the camera. While learning key occupations that make up a film production crew and terminology required in the rehearsal cycle, students will gain full insight of the variables within a successful rehearsal and production for film. Working on a script determined by the lecturer, you will conduct analyze the key themes, and messages and examine any additional materials or research required to develop the scene. Rehearsal for this initial scene will be under the guidance of the lecturer developing a specific chosen circumstance and using your creative thinking skills to develop and deepen the story work. In the second part of the semester, you will develop your craft by using complex rehearsal techniques as you develop a realistic and plausible on-screen relationship for development into a short or feature length

product for your body of work. Choices will be devised by the team you work with and will be reviewed by the lecturer, to generate innovative approaches, assess risks and techniques to communicate the ideas for presentation and filming. In teams students will analyze the components of relationship story-telling for TV and apply these concepts as you build an original story working towards final choices to be presented with your partners for filming. As a team, you will edit a one minute teaser to present as your final story work to pitch the concept to a potential industry professional.

SCENE STUDY Scene Study will equip students with necessary scene-building tools by engaging them in rehearsal processes for a variety of scenes while understanding the collaborative medium. Actors must always be able to respond and adapt to their current circumstances, scene partner/s, and director whilst also undertaking other roles (technical and administrative) as they build the performance. Students will present a live production event that will be digitally recorded in front of an audience.

INTRO TO FILM To be a competent writer for film or television you must have a full understanding of storytelling narration in the craft of screenwriting. This not only involves learning the fundamentals of story structure, theme, character and plotting but also requires an understanding of the filmmaking process, film history, genre and the business of project financing. Intro to Film introduces the screenwriting student to creative techniques used by


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cinematic innovators throughout the history of filmmaking. This subject explores ways in which the crafts of directing, cinematography, acting, and editing have developed over time and how these elements reflect the different approaches and innovations to text, theme, and genre.

ACTING TECHNIQUE In this subject, students will learn acting techniques to deliver truthful performances - primarily drawing on the work of Stanislavski and Meisner. Students will develop the ability to communicate their own feelings without self-consciousness, judgment or ego, using impulses, instincts and creative intuition to engage with scripts and maintain character point-of-view for the duration of a performance. In order to set and achieve own artistic goals, students will apply these acting techniques in the performance of a collaboratively

generated original work. The effectiveness of their creative choices will be evaluated under the supervision of the lecturer. The aim is to generate story material that is personal and engaging, whilst learning to respond to feedback and ideas in a constructive manner. SYNC SOUND PRODUCTION STUDIO

To be a competent filmmaker, you must have an understanding of the entire film production cycle. During the production workshops, the knowledge of cinematic concepts you have acquired in other subjects will be applied to the practical decisions and activities you will encounter during the realization of a film. Through this process you will develop methodologies in the following:

• Script analysis • Directing actors • Rehearsals and scene blocking • Working with crew • On-set procedures • Health and safety on set

HANDS-ON & INTENSIVE WORKSHOPS FILMMAKING From the very first day of class, the focus of the workshop is to learn through making films. Each student writes, produces, directs, and edits his or her own films, and rotates among crew positions when his or her classmates shoot. In the One-Week workshop, each student will make one film project. In the Four-Week Filmmaking Workshop, each student will produce two film projects of increasing difficulty, exploring a variety of filmmaking concepts and practical applications. Eight-Week Filmmaking Workshop students will produce three films of increasing difficulty. Eight-Week Filmmaking Overview Designed for people who wish to learn filmmaking in an intensive environment, the 8-Week Filmmaking Workshop challenges students to produce three films over a period of two months. For students with little or no filmmaking experience, the 8-Week


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Filmmaking Workshop offers the best of all worlds: focused learning, hands-on film productions, and the opportunity to gain experience producing their own short films. The goal of the program is not only to instill a better understanding of filmmaking, but also to build the practical skills needed for a student to realize their artistic vision. The program is divided between hands-on instruction in class and the production by each student of a series of short films of increasing difficulty. Students direct their own projects in three or four person crews. Throughout their time at the eight-week filmmaking program, they rotate into other production positions when fellow crewmembers direct. Special classes in digital camera and lighting are given before students shoot their films. Students use HDSLR cameras, lighting packages, and digital editing systems to create their individual film projects. Students have a pre-production period to cast, scout locations, plan their films, as well as meet with instructors for one-on-one consultations, if needed.

At the end of the course, the final films are celebrated in a screening open to cast, crew, friends and family. All students who successfully complete the workshop receive a New York Film Academy certificate and leave the program with a digital master copy of all their projects. Four-Week Filmmaking Overview The four-week filmmaking program is structured around the production of two short films of increasing complexity. All projects will be shot using high definition digital video cameras.

Classes and hands-on workshops are held throughout the week, while weekends are reserved for additional classes or shooting. Time will be required outside of class for writing, location scouting, casting and editing. The fourth week is devoted to shooting and editing the final film, culminating in the final screening. As in all New York Film Academy workshops, each student writes, directs, shoots and edits a series of short film projects of his or her own, using high-def digital video, film lighting packages and digital editing software. Classes in directing, writing, editing, cinematography and production cover the creative and technical demands of telling a story with moving images. Each week all the students’ films are screened and critiqued in class with the instructor.

The 4-Week Filmmaking Workshop allows students to participate in a short training workshop that demands full immersion into learning the craft. Students who find the training beneficial are encouraged to join the second half of the 8-Week Filmmaking Workshop, intensifying their studies and gaining more experience in front of the camera. Many of our four-week students have gone on to enroll in our popular Diploma in Screen and Media Program. One-Week Filmmaking Overview The One-Week High-Definition Filmmaking Workshop is the most intensive, instructional one-week program in filmmaking that can be found at any film school.


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In one short week, students are instructed in the basics of writing, directing, camera and digital editing, and each student writes, directs, shoots, and edits a short film project. The pace of this one-week course is feverish, and students must be prepared to live and breathe filmmaking for the length of their stay. The program begins with two days of intensive study in camera, writing and directing. On day three, students begin shooting their individual exercises, which they continue shooting on day four. Day five is composed of an editing class and post-production, ending with a final screening. In the one-week workshop, each student writes, produces, directs, and digitally edits his or her own film on digital video, and rotates among crew positions when his or her classmates shoot. ACTING FOR FILM The Acting for Film workshops provide students with the foundation of acting skills with a specific focus on acting for film. Classes emphasize the basic elements of the craft of acting, using acting techniques, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. The participants audition for the filmmaking student film projects. No significant prior experience or knowledge is assumed. The program brings everyone to the same level very quickly, beginning with the fundamentals while also filling in the inevitable gaps in the understanding of those with some prior experience. Eight-Week Acting for Film Overview The 8-Week Acting for Film Workshop is an intensive immersion workshop that takes students from the basic principles of the acting craft through a broad working understanding of the aesthetic and technical aspects of the medium.

The basis of this and all other NYFA programs is learning by doing. Students will find themselves working in front of a camera from day one in our intensive, hands-on workshop. Acting for film and scene study are the two principal areas of concentration in this intensive program. These areas coincide in the creation of short, filmed scenes in which students act. These edited scenes are the main projects of the workshop. Supplementary skills such as monologues, voice, movement, and improvisation are explored in support classes. Sessions in audition technique and the business of acting examine cold reading techniques and the industry as a whole. Finally, while on set, students will collaborate with directors, cinematographers, and production crews, learning the language of film, how films are made, and the effects that these roles have on the choices an actor makes.

The program is constructed to deliver a great deal of content in a short time, and is an exceptional opportunity for a total immersion experience. Students who wish to


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continue their studies have the opportunity to apply credit towards and transfer to a longer program at any point.

No significant prior experience or knowledge is assumed. The acting program brings everyone to the same level very quickly, beginning with the fundamentals while also filling the inevitable gaps in the understanding of those with some prior experience. Four-Week Acting for Film Overview The 4-Week Acting for Film Workshop provides students a thorough foundation of acting skills with a specific focus on acting for film. Many students find the one-month term fits conveniently into their yearly schedules. However, the workshops length necessitates an intense experience. Students must be prepared to make a serious commitment to its completion.

Classes emphasize the basic elements of the craft of acting using various techniques, such as scene study and monologue work. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set.

No acting experience or knowledge is required. The program’s intense nature allows everyone to get to the same level very quickly. Everyone will start with the fundamentals allowing newcomers to become comfortable acting while allowing more experienced actors to fill in any gaps in their prior experience.

The 4-Week Acting for Film Workshop allows students to participate in a short training workshop that demands full immersion into learning the craft of acting. Students who find the training beneficial are encouraged to join the second half of the 8-Week Acting for Film Workshop, intensifying their studies and gaining more experience in front of the camera. Many of our four-week acting students have gone on to enroll in our popular Diploma in Screen and Media Acting Program. One-Week Acting for Film Overview The pace of this one-week workshop is demanding and students should be prepared to live, eat and breathe acting for film for the entire duration of the course. Students should also be prepared to work in non-traditional acting classes emphasizing the construction and control of character, given the unique pressures of a film or television shoot. Video cameras may be used during particular classes.

The basis of the 1-Week Acting for Film Workshop, along with all NYFA Programs, is learning by doing. The New York Film Academy Australia promotes a hands-on, practical, experiential approach. The workshop delivers a tremendous amount of content in a short time and should be viewed as a total immersion acting experience. Students who wish to continue their studies have the opportunity to apply credit towards and transfer to a longer program at any point.


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ACTING COURSE GOALS: The intensive 1-Week Acting for Film Workshop was designed to serve the needs of different types of students. For students contemplating a longer-term education in acting for film, it is an excellent introduction. This one-week acting workshop gives students an understanding of the rigorous requirements of the film actor. Many of our one-week students are "bitten by the acting bug" during this workshop; they realize that one week will not fulfill their desire to learn all they can about the craft of acting and, therefore, return to complete a longer course of study. All students enrolling in the intensive 1-Week Acting for Film Workshop should be aware that this is an introductory course. The limitations of a one-week course should be apparent, given that many people spend years studying and perfecting the craft of acting.


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APPENDIX B: NYFA AUSTRALIA (GOLD COAST) STUDY ABROAD TUITION & DATES: TUITION & DATES Housing costs are not included in tuition Filmmaking Program 1-Semester Filmmaking: $8,000 AUD** 14 Credits Jan 29, 2018 – April 20, 2018 Equipment & Fees: $1,250 AUD May 21, 2018 – August 10, 2018 September 10, 2018 – November 30, 2018 Jan 28, 2019 – April 19, 2019 May 20, 2019 – August 9, 2019 Sept 9, 2019 – Nov 29, 2019 Eight-Week Filmmaking: $6,300* AUD** 6 Credits Jan 29, 2018 - Mar 23, 2018 May 21, 2018 - Jul 13, 2018 Sep 10, 2018 - Nov 2, 2018 Four-Week Filmmaking: $3,800* AUD** 3 Credits Jan 29, 2018 - Feb 23, 2018 May 21, 2018 - Jun 15, 2018 Jun 25, 2018 - Jul 20, 2018 Sep 10, 2018 - Oct 5, 2018 One-Week Filmmaking: $1,625* AUD** 1 Credit Jan 8, 2018 - Jan 12, 2018 Jul 2, 2018 - Jul 6, 2018 Aug 13, 2018 - Aug 17, 2018 Oct 8, 2018 - Oct 12, 2018 Acting Program 1-Semester Program in Acting: $8,000 AUD** 12 Credits Jan 29, 2018 – April 20, 2018 Equipment & Fees: $1,250 AUD May 21, 2018 – August 10, 2018 September 10, 2018 – November 30, 2018 Jan 28, 2019 – April 19, 2019 May 20, 2019 – August 9, 2019 Sept 9, 2019 – Nov 29, 2019


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Eight-Week Acting for Film: $5,500* AUD 6 Credits Jan 29, 2018 - Mar 23, 2018 May 21, 2018 - Jul 13, 2018 Sep 10, 2018 - Nov 2, 2018 Four-Week Acting for Film: $3,800* AUD 3 Credits Jan 29, 2018 - Feb 23, 2018 May 21, 2018 - Jun 15, 2018 Jun 25, 2018 - Jul 20, 2018 Sep 10, 2018 - Oct 5, 2018 One-Week Acting for Film: $1,100* AUD 1 Credit Jan 8, 2018 - Jan 12, 2018 Jul 2, 2018 - Jul 6, 2018 Aug 13, 2018 - Aug 17, 2018 Oct 8, 2018 - Oct 12, 2018 *Prices shown include equipment & fees **Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.


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New York Film Academy (NYFA) BEIJING, CHINA

Prospectus: The NYFA Beijing Study Abroad Program The New York Film Academy (NYFA) has been successfully providing unique summer study programs in Beijing since 2010. NYFA Beijing has welcomed students from numerous countries into its programs. Our unique programs allow students to take Filmmaking and Acting for Film courses in historic Beijing. Like all of our programs, not only will this benefit acting and filmmaking students, but it will also benefit students from nearly all disciplines— assisting them to learn how to tell better stories, how to develop confidence in giving presentations, enhancing their life skills, and their ability to become better listeners— all skills that are applicable in all aspects of academic study and for future professional pursuits. Location The New York Film Academy Beijing’s facilities are nestled in the heart of the Haidian district of Beijing, at the Beijing Film Academy (BFA), the largest, and the best, film academy in Asia. Along with NYFA’s experienced faculty, students will be able to study at a school that produced some of China’s most famous directors such as Zhang Yimou, Chen Kaige, Tian Zhuangzhuang, and many more! The BFA campus is accessible to some of China’s most famous monuments. Filmmaking students will be able to utilize the bustling city of Beijing to become immersed in Chinese culture while creating their films and stories using Beijing’s blend of ancient history and modern futuristic landscape as a backdrop. While most study abroad programs place students in a typical classroom setting, NYFA encourages students to use the city as their classroom. Beijing is an exciting and lively city with a history of culture and power that extends back thousands of years. Visitors to Beijing will be inspired by the Forbidden City and Summer Palace, which were homes of the emperors of the Ming and Qing dynasties. Near Beijing, one of the world’s wonders, the Great Wall of China, can be visited, as well treasured attractions including the Temple of Heaven, Ming Tombs, Hutongs, Tianamen Square, Beijing Opera, and Panda House. Modern Beijing is a city with a vibrant nightlife and world-class restaurants. It is the center of a burgeoning entertainment industry where hundreds of films and television shows are produced.


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Student Body The NYFA Beijing program has welcomed many students from all over the world. U.S. students will be able to learn from, study with, and create, side-by-side with students from not only China, but also many different countries and cultures—growing both personally and professionally through our NYFA Beijing Program. Curriculum & Faculty English is the language of instruction at all NYFA locations. NYFA Beijing offers a 4-week summer course in Filmmaking as well as a 4-Week summer course in Acting for Film (Appendix A). As is the case of all New York Film Academy programs worldwide, the courses of study are hands-on and intensive. From the very first day, each student works to make his/her own film, learning about and utilizing professional equipment. Our diverse international faculty is comprised of experienced instructors and professional filmmakers who have earned their terminal graduate degrees from the most prestigious film programs in the United States. The instructors at NYFA Beijing are faculty from the College’s U.S. campuses in New York, Los Angeles and Miami, and are among the institution’s longest standing and most respected teachers (Page 86). Beij ing Housing In Beijing, students may choose to live in a residential building that has international housing on the Beijing Film Academy Campus. This housing costs approximately $40-$50 USD per day, depending on the type of accommodation the student chooses. If students choose to live at the housing NYFA provides, they will need to reserve a spot by May (two months before NYFA Beijing begins). Students may also choose to live outside of the provided housing. If so, hotel recommendations are available. Features of NYFA Beij ing Study Abroad China is one of four ancient civilizations dating back over 3,000 years. In Beijing, students will be able to visit places such as the Forbidden City, the Great Wall of China, and the Temple of Heaven—all of which are not too far from NYFA Beijing’s facilities on the BFA Campus. Beijing’s rich history, coupled with its modern bustling city, creates the perfect landscape for filmmaking. For example, famous films such as The Last Emperor and Black Snow were both filmed in Beijing. Students will make their films using the Canon 5D Mark III. This camera allows students to achieve a true cinematic look. The camera is a favorite for independent filmmaking, commercials, and television, including the international hit series House, shows on BBC, CBS’s Hawaii Five-O, and Saturday Night Live’s new title sequence and segments. Each student writes, directs, shoots, and edits three projects and edits them


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on professional digital editing stations. Also, each student works in key crew positions on at least six films directed by classmates. Although all classes are taught in English, NYFA Beijing is comprised of students from all over the world. Our students will have the chance to have a true cross-cultural experience. U.S. students have the opportunity to experience a hands-on, intensive filmmaking program while learning side-by-side with students from many different countries and cultures. Currently NYFA Beijing offers two summer 4-week intensive programs: a special Filmmaking program and an Acting for Film program (Appendix B) . *Additional Campus and Location Orientation Materials , and Housing information, i s avai lable upon request . CONTACT: Joy Zhu, Executive Vice President of the China Region, [email protected] Dr. Zhu, earned her PhD in Business Administration, from California American University, and her BA and MA in English Language and Literature, in Heilongjiang University, China. She was a Professor of English Language in China’s Harbin Institute of Technology (HIT), visiting professor in Shanghai Normal University, Hangzhou University of Science and Technology, Harbin Normal University. Dr. Zhu is the President of US-China Economic & Cultural Development Association, which aims to advance the cooperation of U.S and Chinese education institutions. As the Executive Vice President for the China Region, Joy oversees all of the New York Film Academy's operations in China, which include NYFA workshops, relations with Chinese institutions, and all recruiting efforts for the Academy. In her role, Joy is also the administrative leader for issues that specifically concern NYFA students from China. For more information, on how to rece ive Endicott c redi t p lease contact : Jim Miller, Vice President of Strategic Affairs +(1) 212-966-3488 x 206 [email protected] Hannah Gilliland, Study Abroad Coordinator +(1) 212-674-4300 x 239 [email protected] [email protected] Or visit our website at www.nyfa.edu or www.nyfa.edu/programs/study-abroad.php


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APPENDIX A: NYFA BEIJING-STUDY ABROAD OFFERINGS HANDS-ON AND INTENSIVE 4-WEEK PROGRAMS FILMMAKING From the very first day of class, the focus of the workshop is to learn through making films. Each student writes, produces, directs, and edits his or her own films, and rotates among crew positions when his or her classmates shoot. Four-Week Filmmaking Overview The program is structured around the production of three short films of increasing complexity. Classes and hands-on workshops are held throughout the week and weekends are reserved for additional classes or shooting. Evenings are spent on writing, location scouting, casting, and editing. The fourth week is devoted to shooting and editing the final film, culminating in the final screening. As in all of our filmmaking workshops, each student writes, directs, shoots, and edits a series of short film projects of his or her own. Classes in directing, writing, editing, cinematography, and production cover the creative and technical demands of telling a story with moving images. Each week all the students’ films are screened and critiqued in class with the instructor. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this workshop include:


• An in-depth knowledge of Hi-Def DSLR and motion picture production. PROJECT REQUIREMENTS The Four-Week Filmmaking Program requires successful completion of the following creative projects in partial fulfillment of the graduation requirements:


BEIJING 4-WEEK FILMMAKING COURSE DESCRIPTIONS

DIRECTOR’S CRAFT

The core of the Four Week Program, this Area of Study introduces students to all major aspects of filmmaking. Students will learn to concepts to help achieve maximum psychological impact by studying the director’s decisions in camera placement, blocking, staging, and visual image design.

Students will be challenged to think comprehensively about their film projects in terms of the economic realities of low budget student production. Using their own film projects as prototypes, students will learn to break down their film scripts in terms of story and emotional beats, shot selection and composition, and budgeting


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and scheduling. This Area of Study will be the forum for preparing, screening and critiquing three short films.

HANDS-ON CAMERA & LIGHTING Students undergo intensive training in the use HD Digital motion picture cameras and their accessories. Through hands-on workshops, they will also learn fundamental lighting techniques. As they progress through the workshop, they learn how to support the mood of the story with lighting choices and they experiment with expressive lighting styles.

EDITING This Area of Study presents students with multiple aesthetic approaches to editing film and video. Students will learn how to apply concepts such as temporal continuity and spatial continuity, as well as less traditional discontinuous editing techniques to their work. The Area of

Study will also discuss the psychological and emotional effects of editing on the overall story. Additionally, students will learn to operate Avid Digital editing software which they will use to edit their own films. Classes are supplemented with individual consultations at the computer.

WRITING

This Area of Study introduces the established tools and language used in writing a film project. Students will take a story from initial idea to script with an emphasis on the fundamentals of visual storytelling. The intersection of story structure, theme, character, tension, and conflict is examined through detailed scene analysis. In-class discussion provides students with constructive analysis and support. Students are encouraged to tell their stories visually, rather than relying on dialogue.

ACTING FOR FILM The Acting for Film workshops provide students with a foundation of acting skills with a specific focus on acting for film. Classes emphasize the basic elements of the craft of acting using the techniques of Stanislavski, scene study, and monologue work as starting points. In conjunction with these classes, students participate in courses aimed specifically at training the actor for the technical requirements of acting on a film set. No significant prior experience or knowledge is assumed. The program brings everyone to the same level very quickly, beginning with the fundamentals while also filling in the inevitable gaps in the understanding of those with some prior experience. Four-Week Acting for Film Overview No matter how beautiful the cinematography or impressive the special effects in a film, audiences are drawn in by the struggles of the characters on screen. On set, dozens of crewmembers whirl about, twelve-kilowatt lights bore into the eyes, focus tape is pulled to the actor's cheek, and the actor is still expected to give a believable and moving performance. This workshop allows students to participate in a short training workshop that demands full immersion into learning the craft of acting. It also provides students with a


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thorough foundation in acting skills, with a specific focus on acting for film. Many students find the one-month length fits conveniently into their yearly schedules. It is a full-time program. Students must be prepared to make a serious commitment to its completion. EXPECTED LEARNING OUTCOMES Skills learned as a result of successful completion of this program include:



interpretation and character formation. PROJECT REQUIREMENTS In the Four-Week Acting for Film Program, students must study and perform scenes that demonstrate that they have gained a working knowledge of the following skills:


BEIJING 4-WEEK ACTING FOR FILM COURSE DESCRIPTIONS

ACTING FOR FILM

Acting for Film provides students an environment to get comfortable acting in front of the camera. The primary emphasis of the class is the practice of the subtlety and nuance of film acting including learning to adjust the performance for specific shot size, finding the arc of the character and learning to maintain the integrity of the script while shooting out of sequence. Film set terminology and etiquette are also addressed. Students participate in Production Workshop with film students. In the Production workshop, students experience on-set shoots in collaboration with student filmmakers. Students are introduced to a first-hand experience in set etiquette, shooting out of sequence and understanding the actor’s role in a shoot.

SCENE STUDY Students learn to analyze scripts and break them down into units or “beats”. They develop a solid grounding in establishing a character based on their own experiences and imagination. Students will incorporate all of the disparate disciplines learned in all other Areas of Study in an in-class, filmed scene presentation.

ACTING TECHNIQUE Students will practice the tools necessary to hone and focus their acting skills when they do not have a scene partner on which to rely. Students will work on monologues from theatre and film sources that will help them learn how to command attention at auditions and professional performances. Exercises will be taped for in-class critique.


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MOVEMENT Students experiment with different ways of becoming physically “present” in their work. Elements of various approaches will be taught to assist students in finding freedom and expression in the physical instrument.

VOICE Students learn to access the natural voice

through relaxation exercises designed to improve alignment and alleviate habitual tension. Students will work on assigned and chosen monologues to practice text analysis, and character creation skills learned thus far. Students will understand the structure and particular elements, which make a successful monologue and prepare pieces to be audition ready.


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APPENDIX B: NYFA BEIJING-STUDY ABROAD TUITION & DATES: TUITION & DATES Housing costs are not included in tuition Four-Week Fi lmmaking Program $3,528 USD** 3 Credits July 8, 2018 – August 4, 2018 Equipment Fee: $534 USD Four-Week Acting for Fi lm Program $4,062 USD 3 Credits July 8, 2018 – August 4, 2018 **Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.


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NYFA STUDY ABROAD PARTIAL FACULTY LIST The list below is a sampling of NYFA Faculty that have taught at NYFA-Florence, NYFA-Paris, NYFA Beijing, & NYFA Australia. Faculty assignments vary from session to session based on availability. Diana Santi NYFA-Florence Director Producer, Filmmaker, Founder/CEO Purple Reel Productions Diana Santi is an award-winning documentary, commercial, and short films director and producer. She graduated in Film Studies from the Università di Bologna, Maxima cum Laude. In 2004, Diana moved to Los Angeles where she attended the New York Film Academy at Universal Studios obtaining a diploma in Filmmaking. Since 2006, she has been the Overseas Programs Director for the New York Film Academy where her major duties and responsibilities are: liaison with the Italian Film Industry (Cinecittá, Gruppo Mediaset, Panavision, Euro Lab) including establishing contacts with top Italian film directors and actors such as Nanni Moretti, Vittorio Storaro, Dario Argento, and Giorgio Pasotti to name a few. In August 2011, Diana founded Purple Reel Productions and with the support of the Tuscan Film Commission and the City of Florence, she directed a 15-minute comedy titled, “Florence in Love,” that made it to the top 30 of the David di Donatello awards. Mitko Panov NYFA Paris-Director of Academics; Filmmaking Mitko Panov studied directing at the famed “Lodz Film School” in Poland under the mentorship of Jerzy Kawalerowycz, Wojciech Has and Andrzej Wajda. He received international awards including the Golden Palm for best short film at the Cannes FF and is recipient of the Guggenheim Fellowship, the Rockefeller Fellowship for US Film and Media artists and the Sundance Film Institute Documentary Film Grant. His films were aired on major television networks including: PBS, France 3, Canal +, Channel 4, Film 4, Arts & Entertainment, ARTE, ZDF, ARD/BR. They are featured in collections including MOMA, the Guggenheim Museum, and the Chicago Arts Institute (Video Data Bank). His latest film, “The Witness,” featuring Bruno Ganz, Marthe Keller and Padraic Delaney, is scheduled for release in spring, 2017. He is the recipient of two screenwriting awards: Hungarian Pitch Point and Krzysztof Kieslowski Award at Scripteast, Cannes.


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Mitko has taught and collaborated with number of award winning students including Steve Mc Queen (12 Years a Slave), John Hamburg (Meet The Parents), Joshua Marston, Malcolm Lee, David Riker, Jay Duplass, and Florian Gallenberger. Mitko was an Assistant Professor of Film Directing at NYU, Graduate Film Program (1992-1995); a founding member of NYFA and creator of its core 8/6/4 Week curriculum (1992-1993); a Visiting Professor - Film Directing - at the German National Film-School, HFF, Munich (1995-2000); an Associate Professor at University of Texas at Austin, RTF Dpt. Graduate Thesis Projects' Supervisor (1998 - 2008); and FIOFA Ohrid (Outlet of FAMU International - The Prague Film School Visiting Professor, 2017-2018. He also set up NYFA Paris and was its first Program Director 1998/1999. Bertrand Saint NYFA-Paris Director Bertrand Saint has been the Director of NYFA-Paris since 1998. He directs the film and acting programs at La Fémis, the French National Film School. Mr. Saint has worked for TV channels in France, including TF1, one of Europe’s most important outlets. He is a director of theatre, having staged over a dozen plays. As an actor he has performed in over fifty plays, TV films, motion pictures, and short movies. In 2000, he opened AGITAKT, a studio sponsored by the City Hall of Paris for acting workshops, coaching, public readings of plays, and special events, which he still manages. Dr. Adrian Bennett NYFA-Australia Director Dr. Adrian Bennett is the Director of NYFA Australia, where he oversees all daily operations on behalf of the NYFA Australia Board of Directors. An education specialist, Adrian has a background both as a lecturer since 1999 at University level and in recent years as an academic administrator. His PhD in Cultural Studies was completed at the University of Canterbury; a Fulbright Scholarship allowed him to undertake significant research at Georgetown University. He was also awarded an exchange for post-doctoral work at the University of California, Berkeley. His Master’s Degree (Distinction) in Communication Studies was centered on New Media and Auteur theory, which extended his abiding interest in film, which he has always loved as a theorist and amateur practitioner. Tasha Cooper NYFA-Gold Coast Director Tasha Cooper is the Campus Director of New York Film Academy Australia, Gold Coast and a member of the NYFA Australia Board of Directors. In addition, Tasha is the NYFA Australia Director of Recruitment & Enrollment. Tasha began her career in higher education with NYFA U.S. in 2009 at the Los Angeles campus. From 2009-2015,


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she held leadership positions in Recruitment & Admissions and largely contributed to the overall success of enrollment growth. Prior to her career at NYFA, Tasha majored in English Literature & Economics and worked in Marketing & Business Development for the globally recognized corporation, Nestle' Australia. Art Helterbran, Jr. Filmmaking NYFA Australia & NYFA Florence MFA in Film Directing: California Institute of the Arts; BA in Radio/TV/Film: University of Wisconsin-Oshkosh. Prior to joining NYFA Australia as Academic Dean, Art Helterbran, Jr. served as Chair of Filmmaking at NYFA Los Angeles, where he also taught Film Directing, Film History, and Acting for Camera. In addition to his full academic career, Art Helterbran, Jr. has worked extensively as a freelance writer, producer, and director. He has produced commercials that have aired throughout Southern California, and his short films have screened around the United States in such Oscar-Qualifying festivals as The Rhode Island International Film Festival, The Nashville Film Festival, and Palm Springs International Short Fest. Peter A. Stone Acting for Film NYFA Florence Mr. Stone is a graduate of the MFA Acting Program at American Conservatory Theater in San Francisco, a founding member of The Plastic Theatre Company NYC, and a member of AEA and SAG-AFTRA. He began his career in Los Angeles, and he currently works in New York City in Film, Television, and Theatre. In the theatre, he has performed regionally and Off-Broadway. New York and Regional Theater Acting Credits Include: Strangers (Ontological), The Proust Project (staged reading with Michael Stuhlbarg at CSC), Much Ado About Nothing (Portland Stage Company), A Christmas Carol, Female Transport, and Once in a Lifetime (American Conservatory Theater), Wit, Little Shop of Horrors (Actors Theatre of Louisville), Rebecca Gilman’s Capitalism 101 (25th Humana Festival), Sarah Ruhl’s Virtual Meditation #1 (26th Humana Festival), Barefoot in the Park (ECU Loessin Theater, NC), Site-Seeing (NYC Fringe and DC Capital Fringe), Woyzeck (Riverside Theater), Waiting for Lefty, and Ivanov (Shapiro Theater directed by Tony Speciale). Film/Television Credits include: Florence in Love (Florence, Italy), Beyond Depth (Sardegna, Italy), LOOFO, One Life to Live, As the World Turns, All My Children, The Guiding Light, Saved by the Bell: The New Class, and various commercials. As a playwright, Mr. Stone co-wrote the critically acclaimed play Unnatural Acts, which premiered at the Classic Stage Company in New York City in July 2011. For his efforts


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on Unnatural Acts he received a 2012 Drama Desk Award Nomination for Outstanding Play, G.L.A.A.D. Media Award Nomination, Off-Broadway Alliance Award Nomination, and an Honorable Mention for Top 10 Plays of 2011 by The Advocate. The play, Unnatural Acts, has gone through a series of re-writes and will be produced this year in New York City under its new title, The Secret Court. Mr. Stone was also a Casting Assistant at Mackey-Sandrich Casting in New York City, where he assisted on the casting for The Green Zone (Matt Damon), The Adjustment Bureau (Matt Damon, Emily Blount, and Anthony Mackie), The Proposal (Sandra Bullock and Ryan Reynolds), and The Good Guy (Bryan Greenberg). In addition, Mr. Stone has taught a variety of classes at the New York Film Academy in New York City, the NYFA Summer Program in Florence, Italy, Dongguk University (Guest Instructor) in Seoul, Korea, and at the University of Kentucky. Many of his former students have appeared on Broadway (The Lion King, Motown the Musical), Off- Broadway, Film (Life of Pi, Unbroken, Men in Black 3, Jamesy Boy, At Middletown, Somewhere in the Middle) Television (Modern Family, The Apprentice with Donald Trump), and numerous commercials. Stephen Miele Filmmaking NYFA Florence JD, Glendale University College of Law; BA, State University of New York, Albany. Stephen has been a practicing lawyer for more than 25 years, with clients including songwriters, musicians, actors, business and personal managers, producing companies, banking institutions and manufacturers. He has also been appointed and acted as judge pro tem for the Los Angeles Superior Courts. Kelly Gardner Filmmaking NYFA Florence Kelly Gardner is a filmmaker with a background in theater, television, and film. After obtaining a B.A. in Dramatic Art from the University of North Carolina Chapel Hill in 1999, Kelly moved to Washington DC where he enjoyed a successful career as a stage actor, while simultaneously directing educational outreach programs for The Arena Stage, The United States Library of Congress, The Smithsonian Institute, and countless schools and non-profit organizations. In 2006, he decided to pursue an MFA degree in film directing from the California Institute of Art. In 2009, his cinematography on the film, "The Seawall," was honored with acceptance into the acclaimed Cannes film festival. He is currently serving as the Director of Community Outreach for the New York Film Academy in Los Angeles.


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Lucas Mikaberidze Screenwriting NYFA Paris Lucas was born in Tbilisi, Georgia, grandson of theater director Dimitri Aleksidze and nephew of ballet choreographer Giorgi Aleksidze. At the age of 18, Lucas moved to Paris, France to study Filmmaking, Cinematography and editing at The International Film School of Paris (EICAR; he later obtained a Master’s Degree in Film Theory at the Université Paris Diderot (Paris 7). He currently works as a freelance filmmaker, teacher and songwriter between Paris, London and Athens. William Dickerson Director's Craft NYFA Florence & NYFA Paris MFA in Directing, American Film Institute; BA in English, College of the Holy Cross. William is an award-winning filmmaker and author. His debut feature film, “Detour,” which he wrote and directed, was released theatrically and On Demand through Gravitas Ventures and Warner Brothers Digital Distribution. His metafictional satire, “The Mirror,” opened YoFi Fest's inaugural film festival in 2013, and he recently completed his third feature film, “Don't Look Back,” for MarVista Entertainment. His award-winning films have been recognized by film festivals across the country. His AFI Thesis Film, "Shadowbox," won Best Short at the Shockfest Film Festival in Hollywood. He just completed his 2nd book, an insider's guide to directing microbudget films called, "DETOUR: Hollywood - How To Direct a Microbudget Film (or any film, for that matter)." Anthony Richmond, Asc, Bsc Cinematography NYFA Florence & NYFA Paris An accomplished Cinematographer whose career spans well over six decades, Tony Richmond worked as Assistant Cameraman on such films as “From Russia with Love,” “A Funny Thing Happened On The Way To The Forum,” Truffaut’s “Fahrenheit 451” and David Leans’ “ Dr. Zhivago.” The award-winning Cinematographer has had numerous collaborations with Director Nicolas Roeg, lensing five of his films: “Don’t Look Now”, for which Richmond won the prestigious BAFTA award; “The Man Who Fell To Earth”; “Bad Timing”; “Heart of Darkness”; and, “Full Body Massage” for Showtime. Some of Richmond’s other credits include: “Sandlot”; “Candyman”; “Stardust” for Michael Apted; “Playing God”; “Dirty Dancing: Havana Nights”; “Rough Riders” for John Milius; and “That’s Life” and “Sunset” for Blake Edwards. Richmond was also responsible for photography on the seminal British music scene of the late 60’s. He shot the Rolling Stones classic, “Sympathy For The Devil” for Jean-Luc


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Godard, and collaborated with Michael Lindsey Hogg on The Rolling Stones, “Rock And Roll Circus” and the Beatles’ “Let It Be.” His other rock and roll credits include: The Who’s, “The Kids Are Alright,” and the documentary, “Glastonbury Fayre.” Richmond’s most recent credits include: “Good Luck Chuck”; “The Comebacks”; “Legally Blond”; “Ravenous”; “Men of Honor”; “The Sweetest Thing”; “Someone Like You”; “Just Friends”; “John Tucker Must Die”; “Autopsy”; “Sex and Lies in Sin City”; “The Rocker”; “Alvin: the Squeakquel”; and, “Diary of a Wimpy Kid: Rodrick Rules.” Lydia Cedrone Producing NYFA Florence, NYFA Paris, & NYFA Beijing MBA, New York University Stern School of Business; BA in Economics, Boston College. Oversaw company operations for Michael Mann, and production operations for Ali. At The Walt Disney Co., Trimark Pictures, and Savoy Pictures, managed production spending on over two-dozen studio films. Developed and produced two feature films, including the 2009 MGM film, The Betrayed. Nunzio DeFilippis Screenwriting NYFA Florence, NYFA Paris, & NYFA Beijing MFA in Screenwriting, University of Southern California. Writer/producer on HBO's ARLISS; has written for the Disney Channel series KIM POSSIBLE. Had features optioned at Hollywood Pictures, Process Media and Humble Journey Films. Developed a video game at Sony, and a TV movie (TWO STEP) at Oxygen. With his writing partner, he wrote for the comics NEW X-MEN, ADVENTURES OF SUPERMAN, and BATMAN CONFIDENTIAL. They created the comic franchises BAD MEDICINE (in development at Closed On Mondays with NBC), THE AMY DEVLIN MYSTERIES (in development as a TV series at E!) and FRENEMY OF THE STATE (co-created with Rashida Jones, optioned as a feature film by Imagine Entertainment/Universal Pictures.) Suki Medencevic Camera NYFA Florence, NYFA Paris, & NYFA Beijing MFA in Cinematography, National Film School, Prague; BA, National Film School for Dramatic Arts, Belgrade. Suki has shot 15 feature length films and television projects, and numerous commercials and documentaries. In 2010, Suki became a member of the American Cinematographers Society.


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Lanre Olabisi Screenwriting, Directing, Acting for Film NYFA Florence, NYFA Paris, & NYFA Beijing BA, University of Michigan, Ann Arbor; MFA, City College of New York. Writer/Director of the award winning feature film, “August the First,” which screened at 30 film festivals around the world, including The South By Southwest Film Festival (SXSW) and The Karlovy Vary Film Festival. The latest award winning screenplay, “Highway to Nowhere” has been optioned and is currently in development. Jim Pasternak Directing NYFA Florence, NYFA Paris, & NYFA Beijing Jim Pasternak is a directing instructor with over 40 years of teaching experience. He has designed programs and taught at some of the best film schools in the U.S. He travels the world empowering people to produce and direct movies. Two of his directors have won Oscars. Jim's directing, producing, and writing credits include features, shorts, theater, and television. A directing fellow at the Sundance Institute, Jim began his career as assistant to Otto Preminger and as a producer on the Emmy-Award winning ABC documentary series, “The Saga of Western Man.” He holds a Master’s Degree in Film from UCLA. Mary Samuelson Cinematography NYFA Florence, NYFA Paris, & NYFA Beijing Ph.D. in Cinema and Media Studies (in progress); MA in Cinema and Media Studies; B.A. in English Literature, Magna Cum Laude; B.A. in Cinema-Television, Magna Cum Laude, UCLA. Kemp Niver Fellowship in Film History. Gilbert Cates Fellowship Recipient. Mellon Grant Recipient-Center for Primary Research Training. Michael Sandoval Directing, Writing NYFA Florence, NYFA Paris, & NYFA Beijing MFA, New York University, Tisch School of the Arts; MFA, University of Michigan, Writing Program; BA, Brown University. Films have appeared in Berlin Film Festival, Palm Springs, Slamdance, Toronto Short Film Festival, Margaret Meade Doc Festival, and more. Directed, “The Good Son” (competition screening, Berlin); “Ariana” (Audience Award, San Luis Obispo Film Festival). Cinematographer/producing consultant for numerous film/TV productions, including feature documentary, “Horizontes sin Dueño” and "The Encounter" (Best


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Short, Las Palmas). Awarded Ang Lee Fellowship. Published fiction/non-fiction. Residency Grants include Ucross Foundation, the Santa Fe Art Institute. Tommy Maddox-Upshaw Camera & Lighting NYFA Florence, NYFA Paris, & NYFA Beijing MFA in Cinematography, AFI. Photographed many feature films for studios such as Sony Screen Gems, Marvel, and Fox Searchlight. He has worked as a camera operator and 2nd unit DP for some of the top cinematographers in Hollywood. His credits include "Straight Outta Compton", “Iron Man 2,” “Black November", and "The Perfect Match." Steve Pratt Chair of Filmmaking NYFA Australia Steve Pratt has over twenty years of industry experience with credits that include: Writer of the feature film, "Under the Radar," which was produced by Chris Brown (The Railway Man, Bait 3D, Daybreakers), theatrically distributed by Hoyts and sold internationally by LA-based Myriad Pictures; "Farm Kids" (Children's' TV series which aired on the ABC); Writer/Director, "Thunderlust" (feature film that gained international festival selection);Director, "Win or Lose" (feature documentary that gained national TV broadcast). He has also worked as a director, cinematographer and editor on numerous TV commercials, music videos, and corporate documentaries, including work for the United Nations, government organizations, and private enterprise. Steve is passionate about teaching filmmaking and helping students build their careers and find their own voice in film. Stuart Lumsden Senior Acting Lecturer NYFA Australia UK born and raised in Western Australia, Stuart Lumsden graduated from the National Institute of Dramatic Art (NIDA) in 1996. Stuart also holds a Graduate Diploma in Education (Drama/English). His acting and directing credits are diverse, with him performing in a multitude of theatre productions such as Guys and Dolls, Love for Love, Romeo and Juliet, and The White Devil, Black Swan Theatre Company’s production of Michael Gow’s Live Acts Onstage and Hamlet. Stuart has also appeared in many short films, commercials and television shows in guest roles. Brian Vining Associate Chair of Film, Multi-Media Instructor NYFA Australia


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Brian is a Media Trainer and University lecturer with many years of experience in the local video production industry as a writer, director, editor, animator and producer of short films, corporate videos and commercials. Brian also has extensive VFX and Computer graphics experience on short films and long form animation. He has worked extensively in the computer games industry for over 5 years as a 3D Artist, producing 3D computer graphics for computer games, notably ‘Army Men RTS’ and ‘Destroy All Humans’. Rob Horton Acting Instructor NYFA Australia Rob graduated from university with an honors degree in Performing Arts. He formed his own theatre company, Raa Theatre, in the 1990s and, during this period, his work with well-known British actress Frances De La Tour (The Cherry Orchard), his international work in Romania with Gavril Cadariu (Drakula) and the inspiring Stanislavski-based She Devil, directed by the International Theatre Director, Mikhail Mokeev (a direct student of Stanislavski), of the Moscow Art Theatre. It was also during this time that Rob was mentored in Stanislavski’s methods by Mokheev. Rob has also trained extensively in Meisner Technique. Rob’s film credits include Mental, Break the Rock, Home of Strangers, The Hunters Club, The Dossier Case, Where’s Wallace, as well as the TV series Schadenfreude and numerous television commercials and stage roles. Shayne Armstrong Screenwriting Instructor NYFA Australia Shayne Armstrong is an award-winning Australian film and TV screenwriter specializing in horror, thriller and science fiction. As one half of the Armstrong & Krause screenwriting partnership (with SP Krause), whose credits include the feature films Acolytes (starring Joel Edgerton) and Bait 3D, the Cartoon Network tele-movie Johnny Bravo Goes to Bollywood and the tele-movie and ongoing comedy-fantasy series Exchange Student Zero, the children’s TV sci-fi series K9, the short dark dramedy film Huge (officially selected for Flickerfest and St. Kilda Film Festivals in 2013) and the micro-budget paranormal thriller, The Contents (currently in production), Shayne is one of Australia’s leading genre screenwriters. Along with his writing partner, Shayne is a two-time winner of the Australian Writers Guild’s John Hinde Award For Excellence In Science-Fiction and their sci-fi short script, Rarer Monsters, won the award for Best Short Film Script at the AWGIES 2013. The partnership’s latest feature script, 6 Miranda Drive, which was co-written and directed by Greg McClean, (Wolf Creek, Wolf Creek 2) and starring Kevin Bacon for Blumhouse Films (Insidious, Paranormal Activity) was released in 2015. Shayne is a script consultant and a writer and creative consultant for Disney X-D (UK/Europe and US) and Cartoon


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Network (Asia-Pacific). He is also a lecturer and tutor of screenwriting at the University of Queensland and has previously taught screenwriting at the University of Southern Queensland and the Australian Film, Television and Radio School (AFTRS) Queensland. Shayne is currently the Queensland State Representative of the Australian Writers Guild (AWG) and a member of the National Executive Committee, and he has a Master of Arts in Screenwriting from Queensland University of Technology (QUT), Brisbane. Vic Kasper Production Sound, Sound Design NYFA Australia Vic Kaspar is an award-winning Australian Sound Designer with international credits and is regarded as one of the finest in his field after three nominations at the Golden Reel Awards in Hollywood for films such as Inspector Gadget 2 and Kung Fu Hustle, and a Golden Reel win for House of Flying Daggers. In August 2015, his was selected from 1,592 films from around the world to win Best Sound for the supernatural thriller, The Fear of Darkness, at FilmQuest in the USA. Vic started out in music as a composer, engineer and producer working with various artists and also in film music working on some features as well as TV series such as Skippy and Paradise Beach. In the early 1990s he built and operated a post-production facility on the lot at Warner Roadshow Studios to service the needs of Coote Hayes Productions which provided Queensland with a lot of US productions including Time Trax, Flipper, Tales of the South Seas, Beastmaster, The Lost World and numerous telemovies. He has also won numerous local ASSG Awards in Australia. Faramarz K-Rahber Documentary Filmmaking NYFA Australia Faramarz K-Rahber is an experienced Director and Producer who has been specializing in Documentary Film ever since he graduated from Griffith Film School a decade ago. He accomplished world acclaim for his last Directed Feature Documentary, “Donkey in Lahore,” showcasing at the prestigious Tribeca Film Festival in New York, IDFA in Amsterdam and he was invited to show his film at 30 other festivals abroad. During the course of his career he has garnered a cache of awards for a number of his film works, which tend to theme around cultural identity and diversity. Angus Benfield Screenwriting, Performance Analysis NYFA Australia


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Angus Benfield is an actor, writer, producer and director who completed acting training at the Sydney Actors Centre before landing the lead in Dean Murphy’s feature, “Lex and Rory.” Angus spent several years on Australian TV in popular shows such as, E-Street, as well as being seen in countless TV commercials and theatre productions. Angus co-produced the feature film, “Meet me in Miami”; directed and acted in the feature, “Wait up Harriet”; and, produced, wrote and acted in the feature film, “THE HOLY ROLLER.” Angus has his own production company, FIN, and is heavily involved in feature film distribution, having distributed over a dozen feature films. Jacki Mison Scene Study, Text Analysis, Acting Technique NYFA Australia An Acting graduate from the University of Southern Queensland, Jacki has worked as a professional actor, presenter and voiceover artist for many years. Companies she's worked with include Queensland Theatre Company, La Boite, Strut'n Fret, 23rd Productions, Fractal Theatre, Opera Australia, La Fura del Bas, Brisbane Arts Theatre, The Fairy Tale Players, Pentimento, Bakehouse Productions and F&C Theatre Makers. Her screen credits include Prank Patrol, Sea Patrol, The Strip, Punishment, Flipper and the feature film, “The Last Man on Earth.” John Ogden Cinematography NYFA Australia John Ogden is a photographer, filmmaker and writer. Ogden’s career began as a photojournalist in Southeast Asia during the last days of the Vietnam War, later extending his practice to cinematography in multiple genres of filmmaking. Over the last four decades he has worked on projects in: Japan, Korea, China, India, Hong Kong, Singapore, Indonesia, Malaysia, Europe, South America and the USA. During his long and illustrious career, John has shot over 50 music videos for artists such as Prince, INXS, Jimmy Barnes, Split Enzs, as well as commercials for companies such as Coca-Cola, Mercedes, Ford, Asahi, Hewlett Packard and McDonalds. An accredited member of the ACS, Ogden has won many awards and is renowned for creative cinematography that enhances the storyline and propels it forward. Simon Baré (Instructor): Digital Editing, Film Craft, Safety on Set NYFA Australia


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Originally from New Zealand, Simon Baré has worked as a writer, director and editor on everything from short films to documentary to children’s TV to video art. His first short film Eau de la Vie was an official Cannes selection as well as winning a series of international awards. Since then Simon has worked extensively, and in 2012 his documentary Five Dock Crew was nominated for the Best Documentary Award at the St Kilda Film Festival and in 2014 his video work This is Me, my House: Study (phase 2) was awarded second prize at the First Vertical Film Festival, Katoomba. During this period Simon completed his 2nd masters, a Masters of Fine Arts, which explored the space between Film and Art with his feature length documentary focused six-channel video and sound installation, This is Me my House. Simon is currently developing a PHD question that will interrogate the absurd, liminal and uncanny research of his master, this time through the prism of dramatic narrative, cultural artifacts and personal mementos. Patrick Ryan (Associate Chair of Screen and Media): Digital Editing, Camera, Directing, Film Craft NYFA Australia Patrick was once an NYFA Diploma of Directing student at the Los Angeles campus in 2003-2004. He completed his master's degree in Film and Digital Image at the University of Sydney in 2008. His thesis film, Wakefield, was screened around the world in film festivals such as Swansea Bay Film Festival (UK), Internation Film Festival (Thailand & USA), Heart of England International Film Festival (UK), American Online Film Festival (USA) and Cannes Film Festival (France). Prior to joining NYFA Australia in 2016, Patrick worked as a lecturer at Academy of Information Technology teaching Commercial Film, Editing, Screenwriting and Advanced Screen Production and later became the course coordinator of film department where he helped launch and manage the higher-ed program.


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NYFA SHORT-TERM REFUND POLICIES

NYFA FLORENCE, NYFA PARIS, & NYFA BEIJING POLICIES To enroll and guarantee your place in this program, please submit a non-refundable application fee of $50. You may apply online or by mail and submit a $500 deposit that will be applied towards tuition. Full payment is due at least one month prior to the start of the workshop. Please make your check or money order, in US dollars, payable to: THE NEW YORK FILM ACADEMY, LTD. In order to make a payment by credit card or wire transfer, please contact us. All dates, locations, schedule, curriculum, and tuition are subject to change. The New York Film Academy reserves the right to use a student’s name, likeness or films in brochures, advertising, the web, and in any other promotional materials or for educational purpose. In the event that the New York Film Academy cancels the program, all enrolled students will be notified immediately and given a full refund of program fees. The student has a right to cancel this enrollment agreement and obtain a refund. CANCELLATION AND REFUNDS If you cancel your enrollment in the program $500 is not refundable under any circumstances other than cancellation of the program; Program fees (minus the $500 deposit) are refundable until 60 days prior to the workshop start date. No refunds are available after 60 days prior to the workshop start date. In order to cancel once you have enrolled, please contact our admissions office. Failure to cancel prior to the deadline will result in a bill for the full program fee. Housing fees are not refundable. In the event that we must cancel the program, all enrolled students will be notified immediately and given a full refund of program fees (including the $500 deposit). NYFA AUSTRALIA REFUND POLICY INTERNATIONAL students (non Australian students) who withdraw from NYFA Australia within or after 4 (four) weeks prior to commencement are not eligible for a refund.

1. APPLICATION FOR A REFUND An INTERNATIONAL student may apply for a refund if special considerations apply.

• The application for a refund or remission must be made to the International Student Administrator citing the special considerations.

• The International Student Administrator will present the application to NYFA Australia Management who will make a decision.


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• The application process will take 28 days. • The International Student Administrator will provide to the student in

writing the decision of NYFA Australia Management.

2. REFUND GUIDELINES • A refund will be less the maximum of 5% or $500, whichever is the

lesser, for administrative expenses. • Should NYFA Australia Management withdraw its offer or fails to

provide the program offered or terminates its course delivery before or after the study period commences, NYFA Australia will calculate the refund amount according to the specified method for working out the amount of unspent pre-paid fees.

• Should NYFA Australia Management withdraw a student from a course because the student has seriously breached international student visa conditions or NYFAA rules of enrolment, no refund for tuition fees for the current study period will apply.

• Under no circumstances is the $65.00 application fee refundable.

3. COURSE MONEY REFUNDS FOLLOWING PROVIDER DEFAULT NYFA Austral ia will provide a total refund of course fees paid in advance or for tuition already received where:

• The course does not start on the agreed starting day; or • The course ceases to be provided at any time after it starts but before it is

completed; or • The course is not provided in full to the student because a sanction has

been imposed on the registered provider under Part 6 (ESOS Act). iv)

4. COURSE MONEY REFUNDS FOLLOWING STUDENT DEFAULT An INTERNATIONAL student or intending INTERNATIONAL student defaults, in relation to a course provided by NYFA Australia at any NYFAA educational location, if:

• The course starts at the location on the agreed starting day, but the student does not start the course on that day and has not previously withdrawn; or

• The student withdraws from the course at the location either before or after the agreed starting day; or

• NYFA Australia refuses to provide, or continue providing, the course to the student at the location because of one or more of the following events:

o The student failed to pay an amount he or she was liable to pay NYFAA, directly or indirectly, in order to undertake the course;

o The student breached a condition of his or her student visa; o The student has breached the NYFAA Code of Conduct.


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An INTERNATIONAL student or intending INTERNATIONAL student does not default in relation to a course at a NYFA Australia location if the student:

• Does not start that course because NYFAA defaults in relation to the provision of the course at the NYFA Australia location.

• Does not default for reasons of misbehavior unless NYFA Australia accords the student natural justice before refusing to provide, or continue providing, the course to the student at the NYFA Australia location (natural justice is accorded to all students of NYFA Australia through the provision of NYFA Australia’s complaints and appeals process).

5. COURSE MONEY REFUND FOR STUDENT WITHDRAWAL BEFORE COMMENCEMENT (STUDENT DEFAULT) An enrolled student will be eligible for a tuition fees refund if they provide a written ‘request for course withdrawal’ notice to NYFA Australia Management within 4 (four) weeks before the day of course commencement.

• The refund will be in respect to the total amount of tuition fees paid by the student for the current study period less the maximum of 5% or $500, whichever is the lesser, for administrative expenses.

• No tuition fees for a current study period will be refunded to a student where a student fails to provide a written ‘request for course withdrawal’ notice before 4 (four) weeks of study period commencement. However, subsequent study periods with tuition fees paid for in advance will be refunded in full.

SHORT COURSES Refunds will be paid up to 7 days of the (advertised) first day of the course. Within 7 days of the course starting and after the start date, and NYFA Australia has not been informed in writing, there will be no refund. Extenuating circumstances, such as documented medical issues will be considered if a refund is requested which must have supporting documentation. SHORT COURSE REFUNDS

• 30 days’ notice before course start date and advised in writing – full refund of 100% of course tuition fees.

• 21 - 29 days’ notice before course start date and advised in writing – partial refund of 75% of course tuition fees.



• 7 days or less notice before course start date – no refund. • Course start date and after – no refund. • Under no circumstances is the $65.00 application fee refundable.

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