The USC School of Cinematic Arts (formerly the USC School of Cinema-Television, or CNTV) is a film school within the University of Southern California in Los Angeles, California. It is the oldest and largest such school in the United States, established in 1929 as a joint venture with the Academy of Motion Picture Arts and Sciences, and is widely recognized as one of the most prestigious film programs in the world.
The school offers multiple undergraduate and graduate programs, covering production, screenwriting, critical studies, animation and digital arts, and interactive media. Additional advanced programs include the Interdivisional Media Arts and Practice PhD Program, the Peter Stark Producing Program, and the Business of Entertainment (offered in conjunction with the USC Marshall School of Business MBA Program).
Read more about USC School Of Cinematic Arts: History, Facilities, Distinctions, Notable SCA Alumni, Notable Faculty Members and Instructors
Famous quotes containing the words school, cinematic and/or arts:
“The happiest two-job marriages I saw during my research were ones in which men and women shared the housework and parenting. What couples called good communication often meant that they were good at saying thanks to one another for small aspects of taking care of the family. Making it to the school play, helping a child read, cooking dinner in good spirit, remembering the grocery list,... these were silver and gold of the marital exchange.”
—Arlie Hochschild (20th century)
“The art of watching has become mere skill at rapid apperception and understanding of continuously changing visual images. The younger generation has acquired this cinematic perception to an amazing degree.”
—Johan Huizinga (1872–1945)
“I haven’t seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company’s behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)