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A workshop where Showrunner and Stanford alum Cheo Hodari Coker guides a select group of students through the writers' room process: workshopping a single idea into the first act of a television show while also shaping their individual script ideas as a means of teaching basic television writing structure. Students will read and analyze successful pilots as well as learn how to develop outlines, write scenes and do a weekly "table read" of a scene. Coker will also invite working showrunners, in person and virtually, to talk about their process and answer questions about the fastest growing medium in visual entertainment.

What is the entertainment industry today? A survey of film and media practice, this course will feature weekly invited guests, including screenwriters, directors, actors, producers, executives, and scholars. Attendance and student participation in Q&A are crucial to the class, along with reflection papers and potential workshop exercises.

Ethnographic documentary film, just like ethnography itself, began as a colonial practice. It has relied on unacknowledged biases and personal experiences of the filmmakers to create portraits of cultures and communities around the world. To study documentary film today requires recognizing and acknowledging this lens of otherization; it requires grappling with questions around representation. In this course we look at works that turn the lens inward and offer a self-examination of one¿s own culture or the land that the makers belong to. This inversion of gaze is the fulcrum of this course. We work through the convergence of thinking and practice as filmmaking process, with an emphasis on how to work with sound to create portraits. For final projects, students work in groups to make 3-5 minute video portraits of individuals or communities of their choice, exploring in the work itself the place of the personal and the place they are looking from.

Restricted to M.F.A. documentary students. Further examination of structure, emphasizing writing and directing nonfiction film. Prerequisite: consent of instructor.

Restricted to M.F.A. documentary students. Techniques of visual storytelling and observational shooting. Final quarter of professional training in documentary video production. Prerequisite: consent of instructor.

Restricted to M.F.A. documentary students. Editing and post-production of film or video project. Emphasis is on aesthetic choices (structure, narration, music), distribution, contracts, and audience. Prerequisite: consent of instructor.