Abstract. American film education system is changing, particularly in light of the digital

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1 For my parents.

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3 Abstract iii American film education system is changing, particularly in light of the digital technology boom. Just how American film education has evolved with regards to the market, societal, and technical influences is the objective of this research. Four schools-- University of Southern California, New York University, University of California-Los Angeles, Syracuse University--and their undergraduate and graduate curricula from 1960s to present are coded. Qualitative explanations are supported by interviews with administrators and instructors. The study finds that technological developments play an important role in the evolution of American film education by engendering the creation of new courses, programs, departments, and degrees. Yet, the fundamentals of filmmaking have not changed, and schools origin and philosophy remain influential factors in shaping the film curriculum. Key words: motion pictures, cinema, film, film education in the United States, new technology, digital technology, film school, University of Southern California, New York University, University of California-Los Angeles, Syracuse University.

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5 Acknowledgements iv First, I give all my thanks to God for providing the strength and endurance for this very challenging, but richly rewarding journey. All the glory belongs to Him. Next, I would like to express my heartfelt appreciation for my parents, who unconditionally loved, supported, and cared for me throughout the entire process, waiting patiently for me to work at my own pace. I would also like to thank my brother for his words of comfort and encouragement at the critical times. I am so grateful to be blessed with the best parents and with such a loving family. Academically, I want to give my sincere gratitude to my advisor, Professor Feii Lu, for being the instigator for this thesis topic. His expertise, guidance, and patience were key to the completion of this thesis. In addition, Professor Lu went out of his way to help with all aspects of my graduate studies. Professor Lu not only exemplifies an awesome advisor, but he is also the quintessence of a caring teacher. I feel very fortunate to have had Professor Lu s guidance from when I entered this graduate program during his tenure as the department chair to the conclusion of my studies as his advisee. I would also like to thank Professor Chang Jay Shih and Professor Kuo-Feng Tseng for their help with my oral defense. Their comments were important in validating this research and their critiques helped to improve and clarify the writing in this paper. The research for the thesis would not have been possible without the kind help from all of my interviewees: Professor Christine Choy and Professor David Irving of NYU, Dr. Michael Renov, Professor Richard Weinberg, and Mar Elepano of USC, and Woody Mu from Warner Studios. I did not know any of them prior to this research, yet all of them generously gave their time to help me--all in the spirit of education. For the interviews, I also have to thank Professor Syou-Ling Fu for leading me to the right contacts. A big thank you goes out to Michael Co for selflessly giving his time to organize the data. Of course, I could not have come this far without the help and support from my friends. Special thanks to Penny Huang for being my moral support during the oral defense, and to Rae Hung and Christy Zhang for being my Chinese translators. Thank you also to T.A. Lu and Vivi Chen for their knowledge and help with the formalities of my thesis and throughout my graduate studies. Although I moved far from Taiwan to Europe and then to the United States, and took a long break from this thesis, I am incredibly honored to have had this opportunity to come a full circle to study and complete this graduate program in my home country of Taiwan. From the bottom of my heart, thank you all for the experience, growth, and memories!

6 Table of Contents iv DEDICATION ABSTRACT ACKNOWLEGEMENTS TABLE OF CONTENTS LIST OF TABLES LIST OF CHARTS i ii iii iv v vi CHAPTER 1: INTRODUCTION Motivations Goals Summary 3 CHAPTER 2: HISTORY AND LITERATURE REVIEW 2.1 The coming of film education The development of motion pictures into an entertainment business The rise and fall of the motion picture industry in the United States Summary 14 CHAPTER 3: THE MARRIAGE OF MOTION PICTURES AND TECHNOLOGY 3.1 Technology in motion pictures Motion pictures in technology Summary 21 CHAPTER 4: THE DEVELOPMENT OF MOTION PICTURES AS AN ACADEMIC STUDY 4.1 The birth of a new discipline The focus of cinema studies over the years American film education today Types of film degrees offered Duration of film programs Summary 29 CHAPTER 5: SAMPLES, LIMIATIONS AND METHODS 5.1 Types of film schools Sample Limitations Method Summary 39 CHAPTER 6: UNDERSTANDING THE ORIGIN OF FILM SCHOOLS 6.1 University of Southern California 41

7 6.2 New York University University of California Los Angles Syracuse University Summary 57 CHAPTER 7: RESEARCH AND FINDINGS 7.1 University of Southern California New York University University of California Los Angles Syracuse University Summary 100 CHAPTER 8: DISCUSSION OF THE PAST AND FUTURE OF AMERICAN FILM EDUCATION 8.1 From a quantitative analysis From a qualitative analysis School origin, philosophy, and funding Departments and degrees Conclusion Future direction 115 BIBLIOGRAPHY 118 APPENDIX 1 Data and analysis of the undergraduate and graduate curricula 122 APPENDIX 2 Comparison of the schools origins 160 APPENDIX 3 Comparison of the undergraduate and graduate degrees offered 161 by all schools

8 v List of Tables Table 7.1 University of Southern California Cinema School Structure 60 Table 7.2 Motion Picture Degrees Offered by the University of Southern California 64 Table 7.3 Breakdown for USC Graduate M.A. Program, Table 7.4 Breakdown for USC Graduate M.F.A. Program, Table 7.5 New York Cinema School Structure 81 Table 7.6 Motion Picture Degrees Offered by New York University 76 Table 7.7 University of California Los Angeles Cinema School Structure 87 Table 7.8 Motion Picture Undergraduate Degrees Offered by the University of California Los Angeles 89 Table 7.9 Motion Picture Graduate Degrees Offered by the University of California Los Angeles 90 Table 7.10 Curriculum Breakdown for UCLA Undergraduate, Table 7.11 Curriculum Breakdown for UCLA Graduate, Table 7.12 Syracuse University Cinema School Structure 97 Table 7.13 Motion Picture Degrees Offered by Syracuse University 99 Table 8.1 Curriculum Breakdown for NYU Undergraduate, Table 8.2 Technical Curriculum Breakdown for All Undergraduate Programs by Number of Classes and by Percentage 106 Table 8.3 Technical Curriculum Breakdown for All Graduate Programs by Number of Classes and by Percentage 106 Table 8.4 Comparison of each school s origin 160 Table 8.5 Comparison of the undergraduate degrees offered by all schools 161 Table 8.6 Comparison of the graduate degrees offered by all schools 163

9 List of Figures vi Figure 6.1 Hierarchy of effects on the curriculum 42 Figure 6.2 Variable effects on USC s curriculum 48 Figure 6.3 Variable effects on NYU s curriculum 52 Figure 6.4 Variable effects on UCLA s curriculum 55 Figure 6.5 Variable effects on SU s curriculum 57 Figure 7.1 USC Undergraduate Production Curriculum by Number of Courses 69 Figure 7.2 USC Undergraduate Production Curriculum by Percentage 69 Figure 7.3 USC M.F.A. in Production 71 Figure 7.4 Curriculum Breakdown for NYU Undergraduate, Figure 7.5 Curriculum Breakdown for NYU Graduate, Figure 8.1 Trend in Technical Undergraduate Course Offerings, Figure 8.2 Trend in Technical Graduate Course Offerings,