Dear Jeff Rush: Thanks for your note. Here's the no-budg syllabus: NO-BUDGET FILMMAKING: THEORY AND PRACTICE SPRING 1993 COLUMBIA UNIVERSITY JAMES SCHAMUS TELEPHONE: 678-4695 (H); 229-1046 (O) 10 AM - 2 PM WEDNESDAYS 507 DODGE HALL OFFICE HOURS WED 4-5:30 AND BY APPT., 601E DODGE HALL An intensive nuts-and-bolts workshop for the active film producer, as well as a collective theoretical inquiry into the relationship between no-budget modes of production and their aesthetic and political implications. On the practical side, particular attention will be paid to the legal and business aspects of independent filmmaking. On the theoretical side, we will focus somewhat on the question of narrative -- its industrialization in the Hollywood film industry and its uses in the independent sector. Please note: this class requires as a prerequisite some background both in production and film theory. If you have no production experience and/or little interest in or knowledge of contemporary film theory, do not register for this course. Required readings: James Schamus, No-Budget Filmmaking Weekly Variety Reader of various articles. Requirements: All readings are to be completed by the class session for which they are assigned. There will be a mid-term quiz, a final quiz, a short work (perhaps a video essay, class presentation, or paper) and a substantial final paper (which can accompany a video project). Attendance is required. Plagiarism will result in an automatic fail and notification of the dean's office. Please note: NO LATE PAPERS OR ASSIGNMENTS WILL BE ACCEPTED, and incomplete grades are granted only to those who have obtained letters from the dean's office. Due to the fluctuating schedules of some possible guest speakers, class reading assignments might get shifted around. 1. INTRODUCTION Jan 20 Modes of production, modes of representation. Films: Bruce Conner, A Movie; Sadie Benning, It Wasn't Love and Every Girl Has a Diary 2. INDEPENDENT FILM AS A BUSINESS Jan 27 Incorporation, partnerships, DBAs, lawyers, limited partnerships, pre-sales, working with not-for-profits, venture capital. Readings: from James Schamus, No-Budget Filmmaking; various contracts; Fillingham, "The Limited Liability Company as a Human Being"; The Independent 3. AVANT-GARDE/INDEPENDENT Feb 3 Films: Kenneth Anger, Scorpio Rising; Christopher Munch, The Hours and Times Readings: Schamus, "American Independents -- Depending on Europe"; Filmmaker 4. RIGHTS AND RESPONSIBILITIES Feb 10 Releases, options, story rights, real people, locations, insurance scams and necessities Readings: Andre Gaudreault, "The Infringement of Copyright Laws and Its Effects (1900 - 1906)" 5. LABOR AND TALENT Feb 17 Deal memos, crew care and feeding, casting, SAG vs. non-SAG, unions, agreements, deferrals, points. Readings: various contracts Readings: Gaines, "Reading Star Contracts" 6. DOCUMENTARY SUBVERSIONS Feb 24 Film: Su Friedrich, Sink or Swim Readings: Variety 7. SCRIPTS AND BUDGETS Mar 3 Narrative and continuity, scheduling, breaking it down, computers, cash flows, cost reports Readings: Janet Staiger, "Mass Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood" MID-TERM QUIZ 8. TECHNOLOGY AND SUBJECTIVITY Mar 10 From spectacle to network. Readings: Negroponte, "Products and Services for the Computer Age"; Gilder, "Into the Telecosm" SPRING BREAK 9. HI-TECH II: THE NEW BACK END Mar 24 Screening: Mark Pellington reel Reading: Jean Baudrillard, "The Ecstasy of Communication"; Chester, "Independents and the New Media" 10. PRE-PRODUCTION, LOCATIONS, ETC. Mar 31 Permits and parking, scheduling in production, the Mayor's office, building vs. finding, vehicles, sound, call sheets and production reports, vendors, purchase orders, invoices. Readings: from No Budget Filmmaking 11. THE "POSTMODERN" PRACTITIONER April 7 The question of authorial presence. Film: Jonas Mekas, Lost, Lost, Lost reel 3 Readings: Fredric Jameson, "Postmodernism and Consumer Society"; Roland Barthes, "The Death of the Author" 12. SALES, DISTRIBUTION AND MARKETING April 14 Festivals, sales agents, 16 or 35?, e&o insurance, trailers and rough cuts, markets, press and materials, agreements and issues, advertising, four-walling and self distribbing. Film: tba Readings: Weekly Variety; Jim Stark, "In England They Drive on the Wrong Side of the Road"; from The Independent 13. POST PRODUCTION April 21 Music rights, blow ups, dealing with the lab, titles, international m&e and other requirements, the editing room, the sound mix. Readings: from No Budget Filmaking; various contracts 14. CASE STUDY April 28 Film and readings tba. PAPER DUE