|Topics in Film Production||
A systematic approach of the producer’s role in the production of feature films. This course will analyze and explore all the duties and responsibilities of
producers in Asian countries. Fellows will examine and take practice in dealing with all related issues of production concerning development, financing,
casting, pre-production, post production, distribution and marketing, by using case studies of previous film productions.
|Film Law and Policy||
This course will provide a general overview of the various laws, regulations and policies that affect filmmaking in Asia. We will explore the complexities of
copyright law, including variations on the law that exist in different countries. Significant time will also be devoted to the various sorts of contracts that
producers need to be familiar with while shooting both local productions and international co-productions. Other topics to be covered include music
clearance, trademarks, fair use, moral rights, establishing a film company, etc.
Film genres provide a framework through which many viewers around the world consume and interact with cinema. As producers of films, it is important to
understand the nature of this dynamic, and so we will explore the idea of genre from a wide variety of perspectives, ranging from Aristotle to thinkers of the
present day. Through analysis of various genres, we will explore diverse ways of reading films to give fellows a wider perspective on the complexities of
meaning that exist within every film.
As SVOD platforms continue to rise, we are seeing the emergence of new markets and, indeed, new audiences for international films. The opportunities are
wide open, however, there are still a host of challenges for the “international” Producer to navigate, including: finding the right partners and locations; treaties
and contracts; financing and tax credits/rebates; negotiating agreements; working practices and employment laws; sales and distribution; revenue sharing
(hopefully) and, not to forget, writing endless applications! I’ll admit it doesn’t actually sound like much fun but, by actually going through this process you will
discover a great way to develop your story, and, to make sure that potential investors and stakeholders can see both the commercial potential and practical
possibility of your film. In addition, we will be exploring case studies from leading international producers who are successfully working between Asia and the
ROW (Rest of the World). The course will combine lectures, interactive elements as well as practical exercises in order to understand and put the learning into
|Film Financing, Marketing and Distribution||
This course will investigate the various ways producers nurture relationships with potential financing partners, raise and budget capital, manage revenue
sharing, and keep good balance between securing their rights and maximizing their films’ market performances. And throughout this course, fellows also will
garner an overarching understanding of the concepts that drive movie marketing and distribution by focusing on numerous business decisions with the goal of
developing a competitive advantage for a film’s theatrical life and beyond. Fellows will share information and knowledge on related business practices
discovered in their own countries.
|Storytelling and Script Development||
This course aim to learn the basic elements of a storytelling and to develop a script with a writer/instructor and acquire actual experience of script
|Project Development Workshop||
This course provides an intensive hands-on training for fellows willing to produce their own fiction feature film projects. Each fellow is to turn one selected idea
into a pitchable story with development notes made by the fellows themselves or by their partners working in their own countries, referring to constructive
feedback from the faculty members and from the colleagueseither through group discussions or through man-to-man mentoring. Step by step, each fellow will
be given a step-by-step tailored guidance in developing the subject, narrative, the visual style, and marketability of his or her project. The desired outcome of
this course is to create atleast a solid treatment or a step-outline by the end of the semester.
|Topics in Art Cinema||
This course is structured around niche films that are differentiated from mainstream commercial movies. Fellows will come to understand key concepts and
historical frameworks for analyzing arthouse films (including experimental films) by comparing their narrative strategies and alternative aesthetics with those of
conventional cinema. Secondly, this course will provide essential aspects of non-fiction films, through discussions on documentary modes, documentary film
producing and market. The ultimate goal of this course is to broaden fellows’ knowledge on different landscapes of art cinema and its future potentials for
producers in different Asian countries.
|Media and Technology||
With the development of science and technology, we will examine the latest trends in film production and evolving theatrical environment. We analyze the
effects of the latest technologies in visual effects, cinematography and advanced audio technology on film production. This course will also examine
techniques and applications of virtual reality (VR) and augmented reality (AR) technologies to visual contents. Fellows will also study the development of
theater screening technology: 3D, 4D, and Screen X, as well as the use of film technology in cost input and profit making.
|Asian Film History||
This course is designed to provide a general overview of the historical development of cinema in various countries throughout Asia. We will learn about
influential filmmakers, ideas and film movements from both major film-producing nations and also comparatively overlooked national cinemas. Fellows will
also be encouraged to share their thoughts and knowledge about their own countries' film industries. The overarching goal of this course is not so much to
examine a list of the most famous films, but to gain a deeper appreciation of the ways in which film form and style has been constantly evolving in Asia over
the past century and more.
|Film and Psychology||
A basic understanding about psychology can be a useful tool for film producers as they navigate the filmmaking process. This course will adopt a
mix-and-match approach, examining different topics in the field of psychology relating to human behavior, the unconscious, perception, social interaction,
psychoanalysis, etc. Together, we will explore how this knowledge might relate to the creative process, storytelling, and the creation of complex characters
-- and more generally how fellows can put this knowledge to use in becoming more effective producers.
|Co-Production Case Studies||
This course will examine the broader concepts of international filmco-productions, available international film treaties, and their practicalapplications. The goal
of this course is to provide knowledge and tools pertinent to film producing and production in Asian regions and beyond as well as an analytical framework for
selecting effective co-production strategies and choosing the best partner. To get this goal achieved,fellows will share detailed information on co-production
environments in their own countries from film commissions through censorship /rating systems to financing sources based on their own researches before the
begining of the course.
|Film Industry Seminar||
This course will explore diverse cases of a wide range of existing films to understand the impact that emerging versus traditional platforms/strategies have on
the production, distribution and marketing of films. Fellows will present the current marketing and distribution environment of film and media business of
each country. Through the fellows’ case studies, the class will provide an in-depth insight into the nature of the entire film marketing procedures by illustrating
the concepts and perceptions acquired in the previous semester. Another goal of this course is to complete each participant’s graduation thesis for this year’s
AFiS Industry Reports through one-on-one guidance with the lecturer.
This course will train the strategies that are required for producers to communicate effectively in writing to get their projects sold or financed. The class deals
with techniques to produce optimized information, especially such as well-structured loglines, synopses, and treatments, to get the attention of each recipient
including those in charge of film grants, film lab/festival programmers, investors, or agents. Fellows will have the chance to review various effective skill-sets
and to select the ideal strategies for themselves based on the feedback from peer producers through group activities in class.
|Advanced Project Development Workshop
Prior to the beginning of the workshop, each fellow is required to further develop treatment or script drafts for his or her project. This advanced workshop
focuses on a combination of continuous mentoring on script (treatment) revision, production plans, proposal material, pitching skills and financing and
distribution strategies for the purpose of lifting up each project’s potential in terms of marketability. The faculty members will provide multifaceted assistance
in the development of each fellow’s project aimed at solidifying networking and presentation opportunities at an international level. The course culminates in
having the chance to pitch each fellow’s fully developed film project to prospective international co-producers and financiers during the Busan International