Film School
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Transformer Model: AI in Film Schools
“You can love it, you can hate it, you just can’t ignore it,” says artist and UCLA lecturer Bill Barminski about the use of Artificial Intelligence (AI) in filmmaking. Barminski’s sentiment is echoed by other film school faculty, staff and students, who all recognize this divisive technology is here to stay and that it would be foolish for students not to engage with—or at least understand—it. AI is a wide-reaching term, encompassing text-based services like ChatGPT and DeepSeek, which many film students say they use for ideation or to help with loglines, script notes, grant writing and pitch-deck creation. AI […]
by Caleb Hammond on Jun 18, 2025 -
The Hypocrite: James N. Kienitz Wilkins on Cine-phobia and Film School
I’m a bit of a hypocrite: I hated school but now advocate for the experience. I force my kid to do her nightly homework when I failed to do mine. I failed art class in high school (and later dropped out of high school) but ended up with a BFA. This is because (I’ve been told) I possess a Protestant work ethic. I believe deeply in the power of education, but I’m unsure anything can truly be taught beyond what one is willing to teach oneself. Despite abhorring being told what to do, I teach full-time in an undergraduate media […]
by James N. Kienitz Wilkins on Jun 18, 2025 -
Reality Checks: How Film Schools are Adapting to Entertainment Industry Changes
Scan the entertainment business press and everywhere you’ll see the phrase “the great contraction.” The aftermath of COVID shutdowns, labor strikes, the wind-down of zero-interest-rate policies, the end of peak TV, changes in the competitive streaming landscape, the rise of TikTok—all have conspired to make the ever-perilous path toward a career in feature film and television even more uncertain. The economic laws of supply and demand, as they pertain to the labor market, would indicate, then, that film schools must be feeling an enrollment pinch, but talking to various graduate and undergraduate chairs and professors from across the country, that’s […]
by Scott Macaulay on Jun 27, 2024 -
How to Ace a Film School Admissions Interview
I turned in this column way late this quarter. My excuse? Admissions. Like film faculty across the country, my colleagues and I in the School of Cinematic Arts at the University of Southern California are reading dozens of applications for a wide variety of undergraduate and graduate filmmaking, screenwriting and media arts programs, and sorting through personal statements, work samples, grades, letters of recommendation and more, trying to sense who might be best for our program and how our program might best suit potential applicants. There are more applications than ever, even though recent analyses suggest that students consider the […]
by Holly Willis on Mar 18, 2024 -
Optimal Value
What’s the main reason to go to film school? You could say to broaden the mind, to learn about cinema history, to meet future collaborators. Those are all true, but at base, the chief reason is to learn a skill. Ideally, you exit your program (whether it’s undergrad or graduate) ready to enter the industry. Perhaps you won’t be doing what you expected when you first applied, but you also don’t want to emerge with no idea what’s next. That said, film school can be tough. There are countless ways to do it, and it can be hard to focus and […]
by Matt Prigge on Jun 19, 2019 -
What I Learned in Film School
I learned a bit about cinema studies while getting an MFA at Columbia in the late 1970s and a good deal more once I began teaching, first at NYU and then Cooper Union, around a decade later. Always curious as to why students wanted to study film to begin with, I gave a standard first assignment that included a request for a description of the first movie that a student remembered seeing in a movie theater. As at least a third of the Cooper students were born outside the United States, the answers were fascinating. Really should have saved them…. […]
by J. Hoberman on Mar 8, 2018 -
Beyond the Boundaries of Language
In recent memory, there’s been a never-ending deluge of bad news for the arts and humanities in the U.S.: government support, which is already low, may be cut entirely; universities, facing budget crises, have axed language and arts programs; prominent professors spend their time writing books defending the basic value of humanistic inquiry, while their pecuniary graduate students fight for poverty wages as adjuncts, and earn a little money on the side writing articles about their plight. In the midst of all this, I was struggling to put together a dissertation proposal — it was something on the history of […]
by Carmine Grimaldi on Jun 16, 2017 -
Pedagogical Praxis
George Bernard Shaw’s famous adage, “Those who do do, those who can’t, teach. He can do, does. He who cannot, teaches,” fails when it comes to film schools. Scratch the surface of most film school faculty lists, and you’ll find filmmakers who not only do but are also doing. Developing scripts, raising financing and shooting while on sabbatical, university-ensconced independent filmmakers have one foot in the ivory tower and one foot in the shape-shifting world that is today’s independent film production. Inevitably, then, they bring their hard-fought wisdom into the classroom, which means they must also grapple with one tough […]
by Scott Macaulay on Jun 16, 2017 -
VR.edu
When I studied at the London Film School just over a decade ago, students originated all of our projects on 35 and 16mm film and cut them on Steenbecks and Avid Media Composer. What a difference a dozen years make: Now schools have moved beyond the digital video revolution and computer animation to whole new media and formats. Virtual, augmented and mixed reality are forming increasingly large components of university curricula, giving a shot of innovation to narrative filmmaking in the academy and bringing university computer science programs into the realm of traditional film schools. You might expect VR courses […]
by Randy Astle on Jun 16, 2017 -
Film Schools in a Time of Disruption
At YouVisit Studios in midtown Manhattan, Ben Leonberg, Scott Riehs and Alice Shindelar, three recent graduates of the film MFA program at Columbia, bring their education to bear in rather unexpected ways. They are still, in a sense, filmmakers — Leonberg a creative director, Shindelar a writer/director and Riehs a creative producer, each aspiring to one day make a feature. But as their day job they practice filmmaking of a very different type: together they conceive, write and shoot commercial content that YouVisit calls “interactive virtual experiences.” They work in 360-degree video and with virtual-reality headsets. They experiment with new […]
by Calum Marsh on Jun 16, 2017
