Game Studies Seminar (Machinima Production)

USC School Cinematic Arts, CTIN 464

Instructor: Peter Brinson

Lecture: 1pm-3pm Monday

Course Description:

Machinima is defined as filmmaking using video game performances as source footage. Although technically it has much in common with the published game’s ubiquitous ‘cut-scene’, machinima as an expressive form carries with it interesting connections between silent film, the avant garde, sampling culture, and internet culture. It is unique because it came of age during and because of the internet. And although entrepreneurs consistently look for its commercial potential, it defiantly holds true to its amateur roots.

It is often argued that machinima’s value is that it is easier and cheaper to produce than live action films and animation, but such a perspective diminishes its potential.

Compared to other entertainment industries, the game industry has done a great deal to encourage user-generated content. From providing level editors, modeling programs, to even opening a game’s entire source code, the game industry has largely encouraged fan art. And if one considers that games literally invite the player to explore the boundaries of the worlds and rules, machinima’s popularity is not surprising.

Students will produce two short machinima projects during the course of the semester. The majority of class time will be devoted to watching and discussing relevant machinima as well as shorts and feature films, most of which precede the advent of machinima. Students are expected to engage in the conversations about the films as well as fellow students’ proposals for projects.

Meeting Information:

Lecture: 2 hours

Units: 2

Evaluation of student performance:

Participation (in critiques) and attendance	10
Project 1	30
Rough cuts of final (2)	20
Final Project	40
Total:	100

Course content

Course content (summarized by class meeting)

Wk	Lecture	Screenings
1	Introduction to class Evaluation student interests, skills, and console/computer availability	Imagining the Tenth Dimension- Film and comprehension Road Runner- Animation, a predecessor of video games Island of Flowers- Activist film Sheik Attack- Documentary machinima Back and Forth- The personal diary
2	Photography and film. Pre and post digital	The Kid Stays in the Picture, La Jetee
3	Real time and real physics film Pondering the connections of film and game experiences Political commentary Self-referential technique	1K Project II The Least Equipped An Unfair War My Trip to Liberty City
4	Subjective Narrators: abstract, disembodied, irresponsible, and untrustworthy.	The Cat and the Moon The Savage Eye Dial History Abductees
5	Narrative place Stories of elemental force	The Way Things Go, Asskicker, Balance, Landlord Vigilante
6	Editing workshop
7	Work in Class
8	Project 1 due
9	Historical documentary The fake documentary Incidental meaning, postmodernism and authorship Memory and fiction	One Day in September Wax Double Stumble I Saw One
10	Propose final project
11	Completed first rough cut	Class critiques
12	Work in Class
13	Completed second rough cut	Class critiques
14	Work in Class
15	Presentation of Final Projects

Missing an Assignment Deadline, Incompletes:

The only acceptable excuses for missing an assignment deadline or taking an incomplete in the course are personal illness or a family emergency. Students must inform the professor before the assignment due date and present verifiable evidence in order for a make-up to be scheduled. Students who wish to take incompletes must also present documentation of the problem to the instructor or teaching assistant before final grades are due.

Note for students with disabilities:

Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to us as early in the semester as possible. DSP is located in STU 301, and is open 8:30am5:00pm Monday through Friday. The phone number for DSP is (213) 740-0776.

Academic Integrity:

The School of Cinematic Arts expects the highest standards of academic excellence and ethical performance from USC students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper to more than one instructor, or submitting a paper authored by anyone other than yourself. Violations of this policy will result in a failing grade band be reported to the Office of Student Judicial Affairs. If you have any doubts or questions about these policies, consult “SCAMPUS” and/or confer with the instructor.