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Guide Questions For Film Analysis Essay

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IBDP Film guide

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Comparing two film versions of Lord of the Flies

Comparing two film versions of 'Lord of the Flies'.

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Rachel Stevens English Coursework Comparing Two Film Versions of 'Lord of the Flies' Q. There have been two film versions of the novel 'Lord of the Flies'. Compare and contrast the openings of these films in terms of sound, camera shot, lighting, editing and characterisation. Which in your opinion makes the more effective opening and why? In the last forty years there have been two film releases of Sir William Golding's best selling novel, 'Lord of the Flies.' To help me answer the question I closely watched the first five minutes of both of these films and made notes of what I could see and hear. I also observed the lighting effects, camera shots and editing of both productions. The first film was made in 1963 and was directed by Peter Brook. The opening five minutes of this black and white version starts with a montage of images of a public school to try and show the background of the children. It includes pictures of school photos, of children working in classrooms, choir boys singing and children playing cricket. It highlights the fact that they are simply children, which later in the film seems often hard to believe. The pictures are meant to emphasise the civilised life that the boys once had in a society of sophistication. However, suddenly this cultured and civilised society is under threat. The photo of the boys playing cricket dramatically cuts back and forth with pictures of nuclear weapons. This represents the war that had started and the fear of an atomic war that faced many. The mood of the collage changes and the photos change from happy pictures of children playing and working at school, to photos of London being bombed and children being evacuated. Then the title sequence starts with the titles in white writing with a black background upon pictures of planes flying in the sky. . read more.

Just before the end of the first five minutes, some dialogue between Piggy and Ralph is used when Piggy talks about his asthma. You can immediately tell from their voices that Piggy is very different from Ralph. Ralph sounds very upper-class whilst Piggy sounds very common. This is just one of the factors which the other boys despise about Piggy. In comparison, the 1990 version makes similar use in the nature sounds however the different aspects in the film means that different noises are used. The film starts with an under water scene of a pilot's body sinking and a boy struggling to pull him back up to the surface. The sound of this is muffled to create the underwater feel. There is also a very eerie use of non-diagetic music to enhance this underwater and struggling environment. Above the water's surface the diagetic sound, of the boys frantically trying to keep their heads above the water is suddenly much louder. Other uses of diagetic sound are the sound of the water, the boys choking and shouting and the loss of pressure of a life boat being inflated. The title sequence then begins. Dramatic music plays whilst the titles fade on and off. The music sounds almost military like because a snare drum is used, yet there is also another instrument, possibly a piccolo, which makes this military music sound rather childish. If you think about the music and block out the noise of the snare drum, the music sounds very traditional and orchestral. Nearer the end of the title sequence the music gets more up key and sounds a little more primitive, like the 1963 version. It almost seems as though the music is telling a story in miniature, the military music represents the respectful military boys which they were before they crashed on the island, and when the music turns more primitive it is like when the boys turned into savages. . read more.

The black and white film was made a short ten years after the book was written so it is not surprising that it is close to the novel. On the back of the video cover it describes the film as being 'based on the novel,' whereas on the back of Harry Hook's video cover the film is described as being 'from the novel'. In other words the colour version started with the storyline of the novel but went away from it. Although some viewers prefer this version to the original black and white one from 1963, finding it far more realistic and exciting, others are more satisfied with the lesser commercial or speculative realities that clearly dominate the 60's version. The story is just as compelling in either version. Harry Hook's adaptation is not as faithful to the William Golding novel as you would wish (they excised the Lord of the Flies dialogue with Simon) and because of it, the movie is less allegorical and less resonant. Also, Peter Brook's 1963 filming seemed to get closer to the Darwinist sense of this cultural disintegration. Here, the hunter faction seems more like Peter Pan's Lost Boys than the bloodthirsty murderers they are. However, the staging of this story is fairly straightforward. The kids crawl up on the sand, their clothes gradually grow more tattered, they light a signal fire and then fight over who will tend it, they fight for possession of the knife and a pair of glasses that can be used to start fires, and they draw the battle lines between their two camps. Although the second film is more modern and has certain advantages because it is in colour, I find the 1963 production much more effective. This is mostly because it is closest to the novel whereas the second film seems very different. I think the colour version has travelled to far away from the storyline it is showing and therefore I much prefer the 1963 version which is much more faithful to Golding's book. . read more.

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  • Women outside the family are seen as sexual objects and are exploited and taken advantage of. A typical example of this is in the opening wedding scene when Sonny takes one of the bridesmaids upstairs to a bedroom for his own selfish pleasure.

    1. When Timbalt, the capulets leader arrived on scene, there was a lot of close ups involved especially on Benvolio's face as you could sense the fear within his face as Timbalt pointed his gun at him. Unlike The Luhrman Version, Zefferlli's film is very slow starting.

    2. The raft is a sign of safety; it is recognition that the boys might survive. There is a jump cut to "LORD OF THE FLIES" the main title in the centre of the screen silver textured words on a black background.

    1. In the documentary 'Chasing The Light' (made for the BBC who co-funded the film) we see the filming of this sequence. It took 15 takes in 32-degree heat to get the perfect shot. Imagine being Steadicam operator Andy Shuttleworth carrying that heavy load for all that time.

    2. What is the effect in the artwork from the use of the above devices. SUBJECTIVE FRAME: Ask yourself questions like - Is the artwork about a shared human experience. Can you see any evidence of intuition, imagination.

    1. Both of these "character's accusations result in the spread of fear, havoc and confusion" (Whitehead). The alien take-over of an entire community by seed pods from outer space who replicate humans as they sleep and transform them into "perfect, emotionless, vegetable doubles" clearly represented the threat of communism (Hoberman, 186).

    2. They hold meetings to decide what to do. They establish a division of labor, with Jack and the choir being hunters and others building shelters. Most importantly they establish rules to maintain order. Anyone who wishes to speak must hold a conch.

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    Guide to writing an analysis essay

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    English Analysis Guide - by Mariliamaki

    English Analysis Guide

    Below is a free excerpt of "English Analysis Guide" from Anti Essays, your source for free research papers, essays, and term paper examples.

    A DUMMY’S GUIDE TO…

    GETTING THE BEST GRADE FOR A1 ENGLISH!
    Ms Newcomb

    This is a guide to what you might look for in analysing literature, particularly poetry and fiction. An analysis explains what a work of literature means, and how it means it. This Guide contains the following major sections:    Analysis of poetry Analysis of fiction Writing an analytical essay

    Paul listens carefully because he wants to get a 7 in English!!

    I: CRITICAL ANALYSIS OF POETRY
    The process of analysing a poem The elements of analysis discussed below are designed to help you identify the ways in which poetry makes its meaning, especially its 'parts'; they do not give a sense of how one goes about analysing a poem. It is difficult to give a prescription, as different poems call on different aspects of poetry, different ways of reading, different relationships between feeling, images and meanings, and so forth. My general advice, however, is this:

    1. look at the title

    2. read the poem for the major indicators of its meaning -- what aspects of setting, of topic, of voice (the person who is speaking) seem to dominate, to direct your reading?

    3. read the ending of the poem -- decide where it 'gets to'

    4. divide the poem into parts: try to understand what the organization is, how the poem proceeds, and what elements or principles guide this organization (is there a reversal, a climax, a sequence of some kind, sets of oppositions?) 5. pay attention to the tone of the poem -- in brief, its attitude to its subject, as that is revealed in intonation, nuance, the kind of words used, and so forth.

    6. examine the kind of imagery used, or the way it uses oppositions, or the level of realism or symbolism of its use of the natural world.

    ’Wish someone would give me my computer back!’

    Elements of analysis
    Here then are some questions to apply to your analysis in order to see how the poem is making its meaning: 1. What is the genre, or form, of the poem? Is it a.

    Film: Analysis: The Life Of David Gale

    Film:Analysis: The Life Of David Gale

    This Essays Film:Analysis: The Life Of David Gale and other 60,000+ term papers, college essay examples and free essays are available now on ReviewEssays.com

    Autor: reviewessays • December 1, 2010 • 925 Words (4 Pages) • 304 Views

    The debate about whether capital punishment should be used has raged incessantly since it was reinstituted in the Democratic United States in 1976. The latest statistics on the death penalty reveal that 71% of Americans favor it for citizens convicted of murder, while 26% oppose it. Although the United States doesn't lead the world in total numbers of executions per year, it is within the top five. Of all the 38 states that still have capital punishment California leads with the most inmates on death row at 639 and Texas following with 447. California along with a growing number of several other states is reluctant to carry out its executions with only 11 since reinstitution. Texas is the number one state that carries out its executions in the country with 339 executions since 1976. The second state leading in executions is Virginia with a substantially lower number of 94. With the advent of DNA the evidence of innocent citizens being put to death has come to light and calls for protest and even abolition of the death sentence. Austin being the capital of Texas rears a hotbed for protest against this policy of punishment (Death Penalty Fact Sheet).

    In February of 2003, director Alan Parker with Dirty Hands Productions released The Life of David Gale, written by former philosophy professor Charles Randolph. The script was originally made to star co-producer Nicolas Cage before prior commitments. The Life of David Gale stars Kevin Spacey as Dr. David Gale, Laura Linney as a fellow anti-death penalty activist,

    Constance Harraway, and Kate Winslet as the popular journalist from a major news magazine, Bitsey Bloom ("The Life of David Gale" All Movie Guide). I viewed this film in its entirety in DVD format on my notebook computer at work during the a.m. hours in March of 2005.

    This fictional drama-thriller suggests the faults in the capital punishment policy. The film challenges to manner a murder mystery with deep idealistic thoughts on capital punishment, life's purpose, and one's profound suffrage for a cause. Dr. David Gale is a well established

    professor, author, and head of the philosophy department at University of Austin. He was also an active member of an anti-death penalty activist group called Deathwatch. The group is a fictional one but not uncommon to real life. There are present day activist groups similar to this one is Austin as well as around the country. The professor's life is turned upside

    down after a former student falsely accuses him of rape, latter regretting it, and his wife files for divorce and moves her and their son to Spain to live with her lover. After losing his position, reputation, and family he turns to alcohol for relief. When he seems to have hit bottom he is arrested and convicted for the rape and murder of his close friend Constance and sentenced to death. With only a few days until execution David requests an interview with a popular journalist named Bitsey Bloom. After receiving some mysterious evidence she is left with only days to uncover the truth about his innocence.

    Although the film is a fictional one, it does address a real issue in the air presently: Should capital punishment be abolished? Whether one's for or against it, this movie should make one think about the issue but it

    STUDY GUIDE

    STUDY GUIDEUnit Three: FILM NOIR. Small Towns and Big Cities

    Reading Questions: McArthur. Chinese Boxes and Russian Dolls;" Krutnik. "Something More than Night"
    AudioVisual Guide Questions: Frank Capra, It's A Wonderful Life

    Colin McArthur, "Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City"
    • McArthur begins his essay with the descriptive example of Glasgow, Scotland in order to show that cities "are always already social and ideological, immersed in narrative, constantly moving chess pieces in the game of defining and redefining utopias." Explain.
    • At the same time, there is a dominant discourse of Glasgow (and all cities.) This is called the hegemonic Glasgow narrative. [Hegemony: Predominance, esp. the preponderant influence of one state over others] McArthur acknowledges the hegemonic Glasgow narrative but is careful to point out that "like many hegemonies, it is fragile and contested." What does this suggest? This point opens the possibility of alternative narratives and counter-hegemonic stories of the city. How?
    • McArthur traces the master opposition of country/city in Murnau's Sunrise (1927). Trace the details that make up this opposition.
    • This charting of the master opposition continues in his analysis of Capra's Mr. Deeds Goes to Town (1936). What details make up the metropolis/small town opposition ?
    • The essay suggests that the master opposition emerges most forcefully in the inter-war period. What circumstances and demographics of the inter-war period encourages the "valorization of the small town and its values?"
    • The argument shows how these inter-war values have re-emerged since the 1980s. McArthur again charts the master opposition between city/midwest town in the Julia Roberts vehicle, Sleeping with the Enemy (1991). Present the details of this opposition.
    • Review McArthur's discussion of the cinematic presentation of urban space in King Vidor's The Crowd (1928). Compare his analysis to your own notes on the film taken during our Unit One screening.
    • You may want to screen Hitchcock's Shadow of a Doubt (1943). McArthur offers a compelling analysis of Hitchcock's city.
    • "Critics are generally agreed that the gangster film and its generic affiliates such as the film noir and the film policier occupy a special place in the representation of the city." McArthur discusses two key character types from this genre: the Gangster and the City Boy. Summarize these types.
    • Note the description of the "urban milieu of the gangster film ."
    • McArthur argues that there are two other prominent urban film perspectives: the comic book view and the postmodern view. How does he define these genres?
    • The author claims that sympathetic representations of the city are found, oddly enough, in American film musicals. Why? Alongside musicals, the films of Woody Allen also present an affirmative view of the city. Compare your viewing notes from Unit One and McArthur's presentation of the opening scenes of Manhattan (1979). Characterize the urban presentation of the film's "monochrome beauty."
    • The conclusion of the essay (esp.33-34) argues that Hollywood has operated both an economic and aesthetic hegemony over world cinema. Explain these two points in detail.
    • In response to the previous observation, McArthur argues for the necessity of "other discourses arising to compete with existing (hegemonic) ones." What sort of discourses might these be?
    • The ending paragraphs of the essay discuss the profound influence of Italian Neo-Realism on the representation of cities. Some of the characteristics of these films (Rossellini's Paisa (1946) and De Sica's Bicycle Thief (1949)) include the following: location rather than studio shooting, use of non-actors, and tracing the impact of social forces on weaker members of society. You may want to return to McArthur's list as these characteristics will be found in Unit Four's Call Northside 777 (1948).
    Frank Krutnik, "Something More than Night: Tales of the Noir City"
    • Krutnik explains that the noir city of Hollywood's thrillers of the 40s and 50s "is a shadow realm of crime and dislocation in which benighted individuals do battle with implacable threats and temptations." He presents the connection between this genre and the post-World War II era. How do the nuclear age, the Cold War, and the Red Scare provide a context for film noir ?
    • The term film noir. applied after the fact by critics of the French New Wave to American film of this period, means literally black or dark film. What does this terminology suggest about the genre? Krutnik argues that film noir presents a dichotomy regarding the city. at the same time it presents the vitality of the city alongside its corruption, its enticements as well as its horrors. Explain.
    • Krutnik centers his essay on an analysis of Frank Capra's It's A Wonderful Life (1946). The film is an unusual hybrid of supernatural fantasy, drama, and comedy. At the center of its sunny Hollywood narrative, one finds a mini-film noir. Trace Krutnik's extensive analysis of this key sequence, called the nightmare or unborn sequence. How does the presentation of Bedford Falls compare with Pottersville? How does the film's lighting, design, and soundtrack create Pottersville as an urban nightmare realm?
    • The essay claims the George Bailey is typical of the protagonists of many noir thrillers. He is confused, suicidal, dislocated, desperate and terrorized by unfamiliar hostile surroundings. Summarize the nature of the noir protagonist based on George's characteristics during the "urban nightmare" sequence.
    • The author argues that It�s A Wonderful Life presents a profoundly conservative vision of urban social life. He claims that the film "retreats from passionately engaged social criticism" because of its Jeffersonian sentimental fantasy of mythic American small town community. Explain.
    • The essay moves to an analysis of the setting of film noir. Summarize the characteristics of these settings. Krutnik goes on to show that the exterior settings of noir reflect an internal landscape, a psychic setting. He claims that the "private eye" protagonist embodies a psychological landscape in which film noir tales play out. In particular, this interior landscape is mapped on film through the metaphor of the labyrinth. Explain each of the following representational strategies of the labyrinth: voice-over, flashback, optical point-of-view, simulated dreams, nightmares or hallucinations. How do these film techniques "engulf the drama in a vortex of subjective overdetermination?"
    • In part a creative response to the Production Code, the representational techniques of film noir operate often at the level of subtext. What is subtextualization and how does it "hint continuously at a parallel universe of enticement and horror?"
    • The author claims that the white-nostalgia model of community found in It�s A Wonderful Life and My Darling Clementine (1946) is challenged by some noir films such as When Strangers Marry (1944). What is the white-nostalgia model of community? Explain this term in the context of It�s A Wonderful Life .
    • Film noir privileges the emotive over the narrative. Explain how noir privileges "connotation over the denotative, cause-and-effect logic of linear narrative." The essay argues the stylistic emphasis of noir creates a realm in which the "horror of the noir city" is tied to "the pervasive indeterminacy of meaning" in noir film. Explain this statement. If film noir "multiplies rather than contains the signifiers of dis-ease" how would you expect noir films to differ from their Hollywood counterparts of the time period? How could this trait of film noir open popular film to the role of social commentary and critique?
    • To study more film noir. consult the "Films Cited" list at the end of Krutnik's essay. Am excellent list for further viewing is provided.
    AudioVisual Guide Questions It's A Wonderful Life (1946), Dir. Frank Capra
    • Consider the film's opening moments. How does the "conversation in heaven" legitimate the narrative to come? What values does it privilege?
    • Consider the "life history" of George Bailey. What are his dreams and goals? How do travel and "building something big" signal desires the film will eventually quash?
    • Focus your analysis on the manner in which the urban/small town dichotomy is created by the film. Trace the characters and qualities of Bedford Falls in detail. Follow through the transformation of each personal and social quality as it is perverted in the "unborn sequence" of Pottersville.
    • The film presents an interesting critique of capitalism in the person of Mr. Potter. In this most radical strain of the picture, a caution about greed and power emerges. Discuss this theme.
    • Clarence the Angel and George Bailey find themselves first at Martini's Tavern. How is this locale symbolic of the urban nightmare to come? What is the environment like? What kinds of people populate this world? How is the language and accent of the bartender different from any previously found in the film? What does he represent?
    • Trace the film techniques used to create Pottersville as an urban nightmare. How are light, setting, camera, dialog, character, and soundtrack used to craft this result?
    • What are the racial dynamics of this scene? How do they work at a predominantly "unconscious" level? How do the characters in this scene compare with the only person of color found in Bedford Falls, Annie the Bailey's maid? How is the role of race and people of color imagined in the "ideal community" of Bedford Falls? In comparison, what happens in the racialized world of Pottersville? How is Bedford Falls a "white utopia?"
    • How does the film noir section of Capra's picture morph into a psychological drama? How is George Bailey typical of film noir protagonists. Describe the turmoil of his character. How does this troubled psyche clash with the harmonious world of ideal America as found in Bedford Falls? How does the sentimental resolution of the film remedy this dangerous subtext?
    • Discuss the women in Bedford Falls and Pottersville. How does the urban/small town opposition present gender ideals. What is the nightmare fate of Mary, Violet Bick, and "Ma" Bailey in the ugly urban world of Pottersville? How does the film reinscribe traditional gender roles?
    • Some have argued that It's A Wonderful Life contains two warring styles of Hollywood film: the domestic romance and the film noir. How are these tensions presented in the film? How are they resolved and in favor of which style? What is the social message of this resolution?

    Applying to the Media Arts Program - BYU Media Arts

    Applying to the Media Arts Program

    The Media Arts Program offers a Bachelor of Arts in Media Arts Studies as well as a minor in Media Arts Studies. The application process is nearly the same for the Major and Minor with the exception of a few elements. The application process is an indication of the program itself; it requires time, critical analysis, creativity and outstanding performance in TMA 102 (Intro to Film Analysis).

    Due to department resources, a limited number of students are accepted into the Media Arts program each year. Because of the University’s policy on high credit hours, students are allowed only two opportunities to apply to the Media Arts Program. This includes Major and Minor applicants.

    Applications will be evaluated by:

    • The student’s abilities, interests, expectations, preparation and the Media Arts Program criteria/qualifications (see below);
    • The student’s ability to meet the pre-application and application deadlines; follow procedures/guidelines as outlined; and quality and thoroughness of the completed application; and
    • The student’s performance in TMA 102 (Intro To Film Analysis)
    WHAT TYPE OF STUDENTS ARE WE LOOKING FOR?

    The Media Arts Program is seeking students who embody the following qualities:

    • Analytical. solid thinking, conceptualizing and writing skills; ability to think, speak, and write critically and analytically.
    • Collaborative. work amenably with other students, faculty, and staff. A Media Arts Student demonstrates willingness to compromise, strives to support others, does not flee from difficulties but acknowledges differences of opinion and productively works to resolve them. The student responds positively and civilly to others in disagreements, knows how to listen and relate to others with Christ-like qualities, and gives feedback honestly and tactfully to team members.
    • Creative. a potential for formulating story through cinematic/graphic/written expressions.
    • Teachable. a strong interest in and capacity to learn; prepared to view, listen, and comprehend. A Media Arts Student follow instructions; and grasps fundamentals which lead to sophisticated concepts. Eager to receive a well-rounded media arts education, regarding the fundamentals as the foundation for application and experimentation, and willing to hear criticism and to learn from mistakes.
    • Responsible. willingly assumes responsibility for creative and intellectual work (strengths, weaknesses, and omissions), and is open to feedback from other students and faculty.
    MEDIA ARTS APPLICATION DEADLINES: Step 1

    Be accepted by BYU as a continuing day student: agree to uphold the ideals outlined in The Mission Statement of Brigham Young University, Church Educational System Honor Code, and The Aims of a BYU Education and accept them as a guide to all aspects of your academic and practical experience.

    – Register as a Pre-Media Arts Major(Major Applicants only): in the Fine Arts and Communications Advisement Center in D-444 HFAC or by phone (801) 422-3777. After registering, visit the TMA Front Desk in D-581 HFAC to receive a TMA Discount Card that entitles you to one discounted ticket to certain theatre performances.

    – Complete or be enrolled in TMA 102 during the semester you are applying. Applicants should complete TMA 102 with a grade of B or better. It is strongly recommended that transfer students register for or audit TMA 102, as it is an introduction to the skills necessary for the Media Arts Program. Students can apply to the program the same semester they are taking TMA 102; final acceptance is dependent upon successful completion of the course.

    To begin the online application visit byutma.slideroom.com . You will need to create a Slideroom Account to access the application. Note: The application requires a $5 processing fee. You will be prompted for payment when you submit your finished application.

    Start Online Applicaton

    The online application consists of the following elements:

    • Applicant Information
    • A Letter of Introduction: Please include a biographical introduction, your family background, and what you have learned from life and work experiences. The faculty are interested in your aspirations and in your intellectual and aesthetic experiences.
    • 10 Most Significant List: A list of 10 films, television programs, books (other than the scriptures), web sites, music, plays or video games you have read/viewed/experienced. Explain, in five short sentences or less for each one, why you chose it and what you most value about each.
    • 2 Creative Projects: Please give us two creative ideas for projects that could be pursued as a student in the Media Arts Program. Please indicate whether this is an original idea, an adaptation of a literary text, or an idea inspired by another source (such as a newspaper article, news story, magazine article, song, video game, etc). Indicate the proposed length of the finished project.
    • 2 Critical Analysis Essays: You are required to watch two pre-selected films and write a critical analysis essay for each. For each essay, you will identify a theme and explain how one particular element supports that theme. Cite concrete examples from the film. Do NOT consult secondary sources (i.e. reviews, books, internet sites, TMA 102 text) when writing your essays. These are not simply plot summaries, but analyses that demonstrate critical skills learned in TMA 102. The titles of the selected films are located within the critical analysis section of the online application. Both films are on reserve at the HBLL Media Center.
    • Creative Sample Video (Major Applicants Only): As part of the Major application, you are required to create and submit a short film. This film must be no longer than 3 minutes total running time. This sample should be a new project made specifically for your application (i.e. do not use a film created with your friends in high school or done for a ward activity or as part of professional work). You should write, direct, shoot, and edit your video; but do NOT appear in it.
    • Analysis of your Creative Sample(Major Applicants Only). Using the critical skills developed in TMA 102, analyze your creative work and its theme, discussing and analyzing the strengths and weaknesses of the piece in use of cinematic elements to communicate values.

    – Initial meeting with your faculty advisor. Faculty advisors are assigned by student’s last name. See the table below to find your faculty advisor and their contact information. Use this first visit to ask any questions about the program and the application, as well as discuss areas of interest and skill sets and the selection of possible electives. The way to meet with your advisor is during their office hours or to set up an appointment. To make an appointment, please send an email request.

    First Letter of Student’s Last Name

    – Create a graduation plan packet. Referring to the Media Arts Major or Minor Academic Plan, the Media Arts Course Frequencies List and the Media Arts Major or Minor Flowchart, create a graduation plan on the packet provided here: (Major Graduation Packet or Minor Graduation Packet ). Hard copies may also be picked up at the TMA office (D581 HFAC). These links can also be found at the bottom of this page.

    Include all of your GE requirements, major/minor requirements, and Media Arts electives each semester until you graduate. Remember to take note of the semester each class is offered as well as prerequisites. (You are encouraged to discuss possible electives in your first meeting with your faculty advisor.)

    – When your graduation plan is completed, they must be reviewed and signed by the CFAC Advisement Center (D444 HFAC)

    – After your graduation plan has been signed by the CFAC Advisement center, you must meet with your faculty advisor a second time to have the packet reviewed and signed off on.

    STEP 3

    – After you obtain all the needed signatures, digitize your graduation plan into a PDF and attach it to your online application. (There are scanners available in the HBLL or you can have our front office digitize it and email it to you.NOTE: To avoid a rush, the TMA office will only digitize documents up to a week before the submission deadline)

    – Finish the remaining application elements online, pay the $5 processing fee, and submit the application before the deadline. Immediately after you submit your application, you will need to visit the TMA office to sign-up for an interview with our full faculty. Interview dates are listed above with the application deadline dates.

    Students are notified if they are accepted about 4 weeks after applying.