programme quality handbook 2020-21 fda film production · constantly review how it operates with...

PROGRAMME QUALITY HANDBOOK

2020-21

FdA Film Production

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COVID 19 3

Welcome to the FdA Film Production 4

Programme Specification 5

o Programme Details 5

o Programme Aims 5

o Distinctive Features 6

o Progression Route(s) 7

o Admissions Criteria 7

o Academic Standards and Quality Enhancement 7

o Work Based/Related Learning 8

Programme Structure for FdA Dance Performance (full-time) 2020/21 9

Year 1 (Level 4) Modules 10

Year 2 (Level 5) Modules 22

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COVID 19

The current situation with the COVID-19 pandemic means the College is having to constantly review how it operates with regards to its curriculum delivery. The health and wellbeing of staff, students and the general public is of the utmost importance to the College. While the College is planning for all students to be able to spend time at the Kings Road site, this will only happen in line with the most up-to-date guidance from the Government, Public Health England and the Health and Safety Executive. With this in mind, there will be some aspects of your course delivered using online methods and some in person. Our incredible teaching staff have adapted brilliantly to the virtual delivery of their courses and the majority of students have found it easy to adapt to this new way of working. We assure you that in light of the current situation, we have made all reasonable efforts to enable students to complete their studies, for achievement to be reliably assessed and for qualifications to be awarded securely. We will continue to provide a high quality learning experience utilising technology solutions as required accommodating a blended learning approach. Possible Programme Teaching and Learning changes being undertaken: In the event of a second wave of Covid-19, a local, or a national lockdown, alternative arrangements for delivery will be put in place which will mainly focus around the use of online delivery of lectures, discussions, workshops, activities and tasks. Where a module is normally assessed via a practical demonstration and/or application of a skill or knowledge, assessments will be either be postponed to a later date, or if prolonged lockdown and/or social distancing measures do not allow face-to-face work then alternative means of assessment will be used as follows: Possible Programme Assessment changes being undertaken: Year One Modules FPRC02, FPRC03, FPRC04 and FPRC06 all include practical output for assessment where hardware and software are required, therefore arrangements with equipment will be discussed / arranged. Practical workshops are required to support development of craft skills, however these can be tailored to online demonstrations. Changes to the assessments will include completing all practical projects individually (if necessary) and from home. Regular 1-1 support and guidance will still continue as normal but in an online capacity. Year Two Modules FPRD02, FPRD03, FPRD04, FPRD05, FPRD06 all include practical output for assessment where hardware and software are required, therefore arrangements with equipment will be discussed / arranged. Practical workshops are required to support development of craft skills, however these can be tailored to online demonstrations. Changes to the assessments will include completing all practical projects individually (if necessary) and from home. Regular 1-1 support and guidance will still continue as normal but in an online capacity.

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Welcome to the FdA Film Production

This Programme Quality handbook contains important information including:

● The approved Programme Specification ● Module records

An FdA based around Film Production and readiness for entry into the Film Industry - with a focus on creative film production and entry into film festivals. Graduates will leave the course with the requisite skills to be able to work as an independent filmmaker and a film portfolio to support future applications for industry. Focus on specific training for TV and Film Production Techniques alongside advanced theory delivery with a variety of highly focussed units looking at additional practical skills and in depth understanding of subject context. Students will work collaboratively with other areas of the college, most notably Make-up Artistry students and Acting for Digital Media students, where production of a film will utilise actors and make-up artists to develop a professional understanding across all disciplines.

The degree is taught by ex-professionals from a variety of media industries. It is delivered through formal teaching (lectures and workshops), supplemented by training in core media skills development; it also provides students with the option to engage in real filmmaking experience, through their participation in professionally commissioned and directed productions across both years of the degree within the college’s student led media company. Thus, students benefit from a rich mix of theoretical and practical training for film, and will graduate with an intellectual and practical understanding and knowledge of the industry alongside a working portfolio and the tools necessary to launch a career in the media industry. There are lots of other providers offering courses in Film & TV but the outputs are often generic and our aim is to focus on the development of professional standards of production documentation, learning through research and practice and the creation of final projects across each year, which are of a film festival standard. To this end, the College runs an annual internal film festival/exhibition alongside the course.

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Programme Specification

o Programme Details

Awarding Institution: Plymouth Marjon University

Partner Institution and delivery site (s):

City College Plymouth Kings Road

Language of Study: English1

Mode of Study: Full Time 1 year and Part Time 2 years

Final Award: FdA

Programme Title: FdA Film Production

QAA Subject Benchmarking Group(s):

Communication, Media, Film and Cultural Studies (2016)

o Programme Aims

The course is designed specifically to provide students with the practical ability, theoretical understanding and core self management skills to become independent filmmakers with a broad knowledge of the history and form of film, alongside an ability to reflect thoughtfully on their own and others’ practice. It aims to equip students with the widest and most up to date combination of skills and techniques, to encourage self-reflection and the enthusiasm to continue gaining knowledge, critical understanding and self-reflexive practice. All study and scholarly activity on the programme will be first and foremost engaged through the perspective of the filmmaker; the students will then approach research from a broader context when appropriate. Research skills are embedded within each level across multiple units - giving students the opportunity to gain a full and thorough understanding of the appropriate theoretical models . Research skills are developed through all modules; in general terms an increasing degree of independence is encouraged and expected as students progress through the programme. Level 4 Visual Studies and Level 5 Advanced Visual Studies seek to provide students with the ability to undertake comprehensive secondary research and to analyse intended meaning through an understanding of codes and conventions and the theoretical approaches relevant to their chosen area of interest. Both the Level 4 Digital Film Production and Level 5 Practical production modules require students to develop a comprehensive research proposal using their own theoretical understanding and their own primary research into influences, audiences and output expectations. The programme has been developed with reference to the QAA subject benchmarks for Communication, Media, Film and Cultural Studies (QAA, 2016). These are a broad range of benchmarks embracing a wide range of programmes. This is characterised by

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the diversity of emphases within the modules and the wide variety of learning outcomes - all of which are underscored by the notion of understanding the history of communication, film and media technologies alongside understanding the interrelationships of technological and social change. this is especially important in light of the exponentially changing nature of emerging media industries. The degree has also been informed by consultations with industry professionals and employers. By the end of the foundation degree the students should be able to:

- engage in informed, intelligent and challenging debates supported by rigorous academic and non-academic research and applied across a range of situations;

- apply appropriate technical skills across a range of film production processes at a professional standard and in-line with industry practice;

- produce moving image work for specific audiences to a professional standard both individually and within a collaborative team;

- critically reflect upon their own contributions to all aspects of their academic and practice-led work;

- Enter the profession with confidence, a multi-skilled portfolio and a working knowledge of the film and media industries.

o Distinctive Features

This exciting, creative and innovative new dance programme is unique! This is due in

part by its curriculum design, which has been ‘shaped’ by the feedback received from

many of our previously successful students in terms of ‘what they need and what they

want.’ In short - a programme providing increased opportunity to perfect their technical

and performance skills across a broad range of specialist dance genres including

classical ballet, jazz dance and various forms of contemporary dance. In addition,

students will explore, develop and perform a range of musical theatre dance styles, and

will study commercial and lyrical jazz.

Choreography forms part of the programme, and students will be given numerous

exciting opportunities where they can showcase their work. Students will devise and

perform material to a given brief (from a professional); further adding to the industry

flavour of the programme.

Students will be given many opportunities, which will increase their employability skills;

projects include creating a dance film, which will involve looking at camera and editing

techniques, and students will be given the opportunity to collaborate with the Media

students. There is also a focus on health and well-being, and students will learn about

the body’s structure and systems; injury prevention and nutrition etc, therefore

promoting a long and sustainable dance career.

There will be many exciting workshops, and opportunities to work with professional companies, and gain real life experience of working in the industry. Students will become well connected as there will be numerous networking opportunities. Our new Foundation Degree in Dance Performance therefore completely fulfills this

ambition in terms of its highly innovative and responsive approach to diversity,

community and professional experience, which is integrated and embedded throughout

each module and stage of the programme as opposed to ‘fragmented’ summative

experiences.

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Locally this type of curriculum structure is rare. While acknowledging the need for

students to demonstrate their knowledge at an appropriate and theoretical level - we

have embraced the notion that our student’s experiences need to better reflect the real

world of work in the professional commercial entertainment environment - ultimately

creating confident performers of the future.

o Progression Route(s)

The completion of the FdA will give students a 240 credit HE qualification. The breadth of skills covered in the FdA will allow students to progress to a variety of subject specialisms. Students seeking to stay in education could progress onto any number of top courses but the progression is designed for students to move directly onto the BA (Hons) Film and Creative Media. This progression will be automatic for all students achieving a pass at 50% aggregate or above. This requirement is to ensure that students progressing are fully equipped for the transition to Level 6 study, as it will entail much more focussed levels of independent study and autonomy.

o Admissions Criteria

Admission Criteria:

Level 2 English and Maths or 5 GCSE’s – Grade C/4 or above to include English and Maths. A minimum of 64 UCAS points (earned through A-levels, National Diploma, Extended Diploma or Foundation Diploma etc). Applications from students without formal qualifications will be welcomed and assessed on an individual basis. Evidence of a strong interest and/ or experience alongside a desire to learn will be required. Candidates will be interviewed before an offer is made. International students will be expected to meet the English language requirements of IELTS 5.5 or equivalent and have the equivalent of the above level 3 qualifications or professional experience.

o Academic Standards and Quality Enhancement

The quality of the student experience and the standards of the awards are managed and quality assured through the normal University regulations and procedures. The College holds responsibility of ensuring that all University regulations, processes and policies are adhered to, and that its own internal processes align where relevant. Student achievement and progression is managed through the Module Assessment Boards (MABs) and the Progression and Award Boards (PABs). Programmes are reviewed annually through University annual monitoring processes, including external

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examiner contributions, and incorporate student feedback mechanisms at both modular and the programme level reported formally through the annual reporting cycle.

Within a module, the maintenance of academic standards is demonstrated by a rigorous

assessment design, planning, marking and verification process. Assessments are developed in adherence with the assessment information contained within this specification. Assessments are internally verified prior to issue to students in accordance with the College’s guidelines, and open to external scrutiny by the External Examiner (EE).

o Work Based/Related Learning

The programme design has been informed by the Foundation Degree Characteristics Statement. Work-Based Learning will be embedded throughout the programme, with a requirement that students undertake work as part of the college’s student led Media Company, as a minimum. There will also be a dedicated work based learning module:

FPRC02 Defining the Difference: Film roles and Responsibilities

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Programme Structure for FdA Dance Performance (full-time) 2020/21

Stage 1

Module Code Module Title No. of

Credits

Core / Optional

FPRC01

Visual Studies 20 Core

FPRC02 Defining the Difference: Film roles and Responsibilities

20 Core

FPRC03 Screen Craft

20 Core

FPRC04 Digital Editing for the Moving Image

20 Core

FPRC05 Stories for the Screen

20 Core

FPRC06 Digital Film Production

20 Core

Stage 2

FPRD01 Advanced Visual Studies

20 Core

FPRD02 Screen Craft 2

20 Core

FPRD03 Documentary Film

20 Core

FPRD04 Cult Cinema: Beyond the Mainstream - Controversy and

Cultures.

20 Core

FPRD05 Sound and Film "You ain't heard nothin' yet"

20 Core

FPRD06 Practical Production (Final Project)

20 Core

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Year 1 (Level 4) Modules

Module Descriptor FPRC01

Module Code FPRC01

Version (completed by QASU)

Module Title Visual Studies

Credits 20

Valid From (completed by QASU)

Status Proposed

Subject Board (completed by QASU)

Academic Level (FHEQ) 4

Study Period A

Content

Introduction to the History/Development of Film & TV and audiences.

Introduction to Technological Advancements/New Media.

Introduction to Textual Analysis techniques. including semiotics, colour theory etc.

Introduction to research techniques and essay construction.

Focus on Hollywood & International Narrative Cinema.

Focus on Film/Semiotic Language & How to Read Film/Text.

Focus on developing textual interpretation skills.

Teaching and Learning Experience Lectures Seminars Tutorials Directed Study and Reading Flipped classroom sessions Group discussions

Module Learning Outcomes (MLOs) (Compulsory) On successful completion of this module, students will be able to:

1. Analyse both the contexts and techniques, codes and conventions which are used to construct visual imagery and their meanings.

2. Demonstrate the ability to research using methods appropriate to the critical themes, theories and concepts in contemporary visual studies.

3. Demonstrate an awareness of convergent media contexts; and their potential impact on audience interpretation;

4. Understand and reflect upon key terminology, concepts and theories in relation to principles of visual studies and semiotic analysis.

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Assessment (Compulsory) Assessment task Load (eg wordage) Weighting (as a

percentage) Learning outcomes assessed

Essay

up to 3500 words (or equivalent)

70%

1, 2, 3.

Active Learning Blog


30% 4.

Indicative reading (Compulsory) Books (up to 12) BALDWIN, G. & JURGEND, M. (2009) Looking At Photographs: A Guide To Technical Terms. 2nd ed. Los Angeles: J Paul Getty Museum. BENSHOFF, H. (2015) Film and Television Analysis. London: Routledge. Berger, J. and Berger, J. (1973). Ways of seeing; a book made by John Berger. New York: Viking Press. BARTHES, R. and LAVERS, A. (2000). Mythologies. London: Penguin. Mirzoeff, N. (2009). An introduction to visual culture. New York: Routledge. Rose, G. (2016). Visual methodologies. London: SAGE. Braudy, L. and Cohen, M. (2009). Film theory and criticism. New York: Oxford Univ. Press. Cook, P. (2011). The cinema book. London: Palgrave Macmillan. Bordwell, D. and Thompson, K. (2003). Film art. New York: McGraw-Hill. Hill, J. and Gibson, P. (2000). Film studies. Oxford: Oxford University Press. Perkins, V. (1986). Film as film. Harmondsworth, Middlesex, England: Penguin Books. Albers, J. (2013). Interaction of color. New Haven: Yale University Press.

Journals (up to 6) Mulvey, Laura. 1975. ʻVisual pleasure and narrative cinemaʼ, Screen, Vol. 16, No. 3, pp. 6-18. Art Monthly - ISSN: 0142-6702 Creative Review - ISSN: 0262-1037 Film Philosophy (EUP) - ISSN: 1466-4615 Modernist Cultures (EUP) - ISSN: 2041-1022 Websites (up to 6) https://www.bfi.org.uk/ https://www.filmsite.org/ https://www.imdb.com/ https://www.thisiscolossal.com/ http://www.aestheticamagazine.com/

https://www.bfi.org.uk/

https://www.filmsite.org/

https://www.imdb.com/

https://www.thisiscolossal.com/

http://www.aestheticamagazine.com/

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Module Code FPRC02


Module Title Defining the Difference: Film roles and responsibilities

Credits 20


Status Proposed



Content

Introduction to film industry working practices and legislation o Comparisons of roles on low budget and large budget films o Consideration of the departments and the hierarchy of roles within the film

industry o Responsibilities throughout all stages of film production o Legal responsibilities o Ethical and professional responsibilities

Supported development of short moving image project with a focus on the different stages of film production and roles in association with pre-production, production and post-production stages.

o Specialist focus on roles o Development of documentation for specific roles o Collaboration with performing arts and Make-up artistry for film.

Teaching and Learning Experience (Compulsory)

Case Studies Guest Speakers Lectures Seminars Tutorials Workshops Practical Sessions Practical Outputs Industry Simulation


1. Analyse practices within film production, including knowledge of legal, ethical and regulatory frameworks that affect media production and distribution.

2. Plan the deployment of the creative, technical and personal skills and resources required to realise the objectives for a fictional film

3. Demonstrate drive, autonomy and entrepreneurship within own specialist role;

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Assessment (Compulsory)

Assessment task Load (eg wordage) Weighting (as a percentage)

Learning outcomes assessed

ESSAY up to 1500 words (or equivalent) 30% 1

E-PORTFOLIO / RESOURCE FILE

WORKBOOK

PRACTICAL PROJECT

EVALUATION

3000 - 3500 words (or equivalent) including a short filmed practical project

70% 2, 3

Indicative reading (Compulsory) Books (up to 12) Andersson, B. and Geyen, J. (2012). The DSLR filmmaker's handbook: real-world production techniques. Indianapolis: Wiley. Brown, B. (2016). Cinematography: Theory and Practice. 3rd ed. Oxon: Routledge. Cleve, B. (2006). Film production management. Taylor & Francis. Gregory, G., Mazierska, E. and Healy, R. (2007). Careers in media and film. London: Sage Publications. Hoover, S. (2013). Film production. Llewellyn, S. (2003). A Career Handbook for TV, Radio, Film, Video and Interactive Media (Professional Media Practice). 2nd ed. London: A & C Black Publishers Ltd. Mackendrick, A. (2005). On film-making: an introduction to the craft of the director. New York: Faber and Faber. Matt, G. (2016). Breaking Into UK Film And TV Drama: A comprehensive guide to finding work in UK Film and TV Drama for new entrants and graduates. California: Createspace Independent Publishing Platform. Schreibman, M. (2001). The Indie Producers Handbook. New York: Watson-Guptill Publications. Shail, R. (2013). British Film Directors. Cambridge: Cambridge University Press. Stradling, L. (2010). Production management for TV and film. London: Methuen Drama. Journals (up to 6) Piccirillo, R. (2010). Career Snapshot: The Film Director, A Human Lens. Inquiries Journal, [online] 2(3). Available at: http://www.inquiriesjournal.com/articles/196/career-snapshot-the-film-director-a-human-lens [Accessed 25 Mar. 2019]. Tregde, D. (2013). A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production. The Elon Journal of Undergraduate Research in Communications, [online] 4(2). Available at: https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2017/06/01DavidTregdeEJFall13.pdf [Accessed 25 Mar. 2019]. http://cineaction.ca/

Broadcast: Film and Television - OCLC:1043120303

Sight & Sound - ISSN: 0037-4806

Journal of Popular Film and Television Movie: A journal of Film Criticism Websites (up to 6) www.masterclass.com http://www.screenonline.org.uk/ https://tarproductions.com/whos-who-on-a-film-set/ https://www.screenskills.com/education-training/job-profiles/ https://filmmakermagazine.com/95242-what-everyone-does-on-a-film-set/#.XJj3oCj7Tcs

https://www.thecrewingcompany.com/industry-roles-production/

http://cineaction.ca/

http://www.masterclass.com/

http://www.screenonline.org.uk/

https://tarproductions.com/whos-who-on-a-film-set/

https://www.screenskills.com/education-training/job-profiles/

https://filmmakermagazine.com/95242-what-everyone-does-on-a-film-set/#.XJj3oCj7Tcs

https://www.thecrewingcompany.com/industry-roles-production/

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Module Code FPRC03


Module Title Screen Craft

Credits 20


Status Proposed



Content Focus on processes rather than the product, considering:

1. Practical Skills utilising digital video cameras, lighting & sound a. Focus on Composition & Framing. b. Focus on Lens Knowledge, Focal Lengths & Depth of Field.

2. Studio & Outside Broadcast Techniques


Guest Speakers Lectures Independent learning Seminars Tutorials Workshops Practical Sessions Practical Outputs Critical reflection


1. Apply skills and understanding, utilising appropriate technology relevant to a chosen specialism, for film production.

2. Use and document a range of production techniques to creatively solve any problems arising and deliver a moving image project adhering to the brief and deadline

3. Reflect on your technical skills, evaluating your own work and its impact 4.


Assessment task

Load (eg wordage) Weighting (as a percentage)


WORKBOOK

PRACTICAL PROJECT

EVALUATION


100% 1, 2, 3

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Indicative reading (Compulsory) Books (up to 12) Ascher, S. (2013). The Filmmaker's Handbook. New York: Plume. Box, H. (2003). Set lighting technician's handbook. Amsterdam: Focal Press. Bozak, N. (2011) The Cinematic Footprint: Lights, Camera, Natural Resources. New Jersey: Rutgers University Press. Brown, B. (2017). Cinematography: Theory and Practice. 3rd ed. Oxon: Routledge. Field, S. (2005). Screenplay: Foundations of Screenwriting. New York: Bantam Dell. Jones, C. and Jolliffe, G. (2006). The Guerilla Film Makers Pocketbook. New York: Continuum. Katz, S. (2011). Film directing shot by shot. [United States]: Michael Wiese Productions. Kenworthy, C. (2012). Master shots. Studio City, CA: Michael Wiese Productions. Landau, D. (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image (The CineTech Guides to the Film Crafts). London: Bloomsbury Academic. Mercado, G. (2010). The Filmmaker's Eye: Learning (and breaking) the rules of cinematic composition. London: Focal Press. Murch, W. (2001). In the blink of an eye: A perspective on film editing. 2nd ed. Los Angeles: Silman-James Press. Zettl, H. (2014). Sight Sound Motion: Applied Media Aesthetics. 7th ed. Boston: Wadsworth. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166

Websites (up to 6) https://www.premiumbeat.com/blog/how-to-make-film-video/ https://www.raindance.org/low-budget-filmmaking-under-10000/ https://www.studiobinder.com/blog/10-production-design-tips-for-filmmakers-on-a-budget/ https://nofilmschool.com/2015/09/4-tips-low-budget-tips-no-budget-film-festival https://www.shortoftheweek.com/ https://www.futureshorts.com/

https://www.premiumbeat.com/blog/how-to-make-film-video/

https://www.raindance.org/low-budget-filmmaking-under-10000/

https://www.studiobinder.com/blog/10-production-design-tips-for-filmmakers-on-a-budget/

https://nofilmschool.com/2015/09/4-tips-low-budget-tips-no-budget-film-festival

https://www.shortoftheweek.com/

https://www.futureshorts.com/


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Module Code FPRC04


Module Title Digital Editing for the Moving Image

Credits 20


Status Proposed



Associated programmes FdA Film Production FdA Creative Media Production

Content (Indicative) (Compulsory)

Focus on the history of editing and development of editing techniques through application of practical exercises

o Analysis of key films from cinema history o Genre-specific editing conventions o Specific techniques (Montage, multicam editing)

Soundtrack Design o Sound components (SFX, ambience, dialogue) o Multitrack design


- Lectures

- Seminars

- Tutorials

- Workshops

- Practical Sessions

- Practical Outputs

- Critical reflection

- Demonstration

Module Learning Outcomes (MLOs) (Compulsory) On successful completion of this module students will be able to:

1. Analyse key historic and developments of editing for moving image demonstrating a knowledge of terminology and techniques.

2. Demonstrate a confident and professional approach to planning for moving image production and deliver an edited moving image project to appropriate platforms

3. Evaluate the effective management of time and resources by drawing on knowledge of planning, organisational techniques and project management tools.

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WORKBOOK - INCLUDING PRODUCTION DIARY

PRACTICAL PROJECT

EVALUATION

3000 - 3500 words (or equivalent) including edited moving image projects

70% 2, 3

Indicative reading (Compulsory) Books (up to 12) BILLINGE, E. (2017). The Practical Guide to Documentary Editing: Techniques for TV and Film. Abingdon: Routledge. BOWEN, C.J. & THOMPSON, R. (2017) Grammar of the Edit. London: Focal Press. Chang, J. (2011). FilmCraft: Editing. Lewes: Ilex. Cross, M. and Feist, J. (2013). Audio post production for film and television. Berklee Press. Frierson, M. (2018). Film and Video Editing Theory: How editing creates meaning. Oxon: Focal Press. Heath, J. (2014). Concrete wedding cake. John Heath. HOCKROW, R. (2014) Out of Order: Storytelling Techniques for Video and Cinema Editors. Berkeley, CA: Peachpit Press. Holman, T. (2010). Sound for Film and Television. 3rd ed. Focal Press. KEAST, G. (2015) The Art of the Cut: Editing concepts every filmmaker should know. Createspace Independent Publishing. McGrath, D. (2001). Editing & post-production. Boston: Focal Press. MURCH, W. (2001) In the Blink of an Eye: A Perspective on Film Editing. 2nd ed. Hollywood, CA: Silman-James Press, Inc. Viers, R. (2011). The sound effects bible. [United States]: Michael Wiese Productions. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Scope (University of Nottingham) - ISSN: 1465-9166

Websites (up to 6) https://helpx.adobe.com/uk/creative-cloud/tutorials-explore.html

https://www.premiumbeat.com/blog/8-essential-cuts-every-editor-should-know/ www.nofilmschool.com

www.videomaker.com

https://www.youtube.com/user/everyframeapainting

https://www.youtube.com/watch?v=XafunNmwtPg

https://helpx.adobe.com/uk/creative-cloud/tutorials-explore.html

https://www.premiumbeat.com/blog/8-essential-cuts-every-editor-should-know/

http://www.nofilmschool.com/

http://www.videomaker.com/

https://www.youtube.com/user/everyframeapainting

https://www.youtube.com/watch?v=XafunNmwtPg

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Module Code FPRC05


Module Title Stories for the Screen

Credits 20


Status Proposed




Introduction to cinema history and development of storytelling o Analysis of key films from cinema history o Importance of character development and exploration of key concepts for fictional

storytelling - character types, dialogue, style, genre, action, conflict. Developing screen ideas and focus on industry development material

o Generating ideas for moving image projects o Creating a treatment containing loglines, synopsis and character descriptions o Pitching idea for commission purposes

Focus on screenwriting processes o Formatting

Focus on relationship between the script and film production o Script breakdowns from the perspective of different roles and for different moving

image productions Producer - Logistics Director - Visual style, character development Cinematographer - technical viability, conveying emotion and meaning Sound Designer - technical viability, conveying emotion and meaning


- Group Discussions

- Guest Speakers

- Lectures

- Seminars

- Tutorials

- Workshops

- Practical Sessions

- Practical Outputs


1. Assess the development of storytelling utilising social, historical, political, economic or cultural issues from which different films have emerged.

2. Articulate visual and verbal communication skills in a pitch for an intended audience. 3. Demonstrate an understanding of the legal and ethical implications when writing a script for

distribution

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4. Deliver a script to a given length, format, brief and deadline, properly referencing sources and ideas and making use, as appropriate, of a problem-solving approach.




ESSAY up to 1000 words (or equivalent)

15% 1

TREATMENT & PITCH


15% 2

SCRIPT & BREAKDOWN


70% 3, 4

Indicative reading (Compulsory) Books (up to 12) Akers, W. (2011). Your Screenplay Sucks. Studio City: Michael Wiese Productions. Bordwell, D. (2017). Reinventing Hollywood. Chicago: University of Chicago Press. CAMPBELL, J. (2012) The Hero with A Thousand Faces (Collected Works of Joseph Campbell). 3rd ed. Novato, CA: New World Library. Dancyger, K. (2019). Storytelling for Film and Television: From First Word to Last Frame. Routledge. Field, S. (2005). Screenplay: Foundations of Screenwriting. New York: Bantam Dell. HARRIS, C. (2016) Jaws in Space: Powerful Pitching for Film & TV Screenwriters. London: Creative Essentials. JOHNSON, C. H. (2009) Crafting Short Screenplays That Connect. 3rd ed. New York: Focal Press. Kallas, C. (2010). Creative screenwriting. New York: Palgrave Macmillan. Moritz, C. (2008). Scriptwriting for the screen. London: Routledge. Snyder, B. (2005). Save the cat!. California: Michael Wiese Productions. Walker, S. (2012). Intro to screenwriting. [San Francisco]: Fiction Works. YORKE, J. (2014) Into The Woods: How Stories Work and Why We Tell Them. London: Penguin. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166 Media, Culture and Society - ISSN: 0163-4437

Websites (up to 6) https://www.bbc.co.uk/writersroom https://www.finaldraft.com/ https://screencraft.org/ https://www.simplyscripts.com/movie-scripts.html https://www.writersstore.com/how-to-market-your-screenplay/

https://www.bbc.co.uk/writersroom

https://www.finaldraft.com/

https://screencraft.org/

https://www.simplyscripts.com/movie-scripts.html

https://www.writersstore.com/how-to-market-your-screenplay/

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Module Code FPRC06


Module Title Digital Film Production

Credits 20


Status Proposed



Study Period C

Prerequisites and co-requisites N/A

Associated programmes N/A

Not available to students taking/having taken N/A


Focus on pre-production and time management - use of relevant self designed paperwork to

support development. Focus on undertaking comprehensive production research Focus on practical skills development across all areas of production and post-production. Focus on self reflective practice and evaluation of finished product.


Lectures Seminars Tutorials Workshops Practical Sessions Practical Outputs Critical reflection


1. Apply an understanding of theoretical and professional contexts and demonstrate how they can be used to inform personal practice.

2. Confidently use a wide range of appropriate technology relevant to film production 3. Produce a moving image product which demonstrates an understanding of production values

and to be distributed on appropriate platforms 4. Reflect on your technical skills, evaluating your own work and its impact 5. Document and evaluate effective communication, team working and other appropriate

employability skills

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RESEARCH PROPOSAL & PITCH

up to 1000 words (or equivalent) 20% 1


WORKBOOK

PRACTICAL PROJECT

EVALUATION

3500 - 4000 words (or equivalent) including a filmed practical project

80% 2, 3, 4, 5

Indicative reading (Compulsory) Books (up to 12) ANTHONY,J.L. (2003) Beyond The Lens:, London: Association of Photographers ASCHER, S. (2013) The Film Makers Handbook: A Comprehensive Guide for The Digital Age. New York: Plume. GORMAN, S. and LETOURNEAU, T., 2004. Placing Shadows: Lighting Techniques for Video Production. Oxford: Focal. HUMPHRIES, M. (2017) Visual Storytelling with Color and Light. Boca Raton, FL: CRC Press. JOLIFFE, G, 2006, The Documentary Film Makers Handbook: A Guerilla Guide, Continuum Publishing Ltd KATZ, S., 1991, Film Directing Shot by Shot: Visualizing from Concept to Screen, CA, USA, Michael Wise Productions KENWORTHY, C., 2009. Master shots : 100 advanced camera techniques to get an expensive look on your low-budget movie, Studio City CA: Michael Wiese Productions. MURCH, W., 2001. In the Blink of an Eye: A Perspective on Film Editing. Los Angeles: Silman-James Press. ROSE, J. (2014) Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix. 4th Ed. New York: Focal Press. SHERIDAN, S., 2004. Developing Digital Short Films. London: New Riders. WALES, L. (2017) The Complete Guide to Film and Digital Production: The People and The Process. 3rd ed. New York: Focal Press. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166 Media, Culture and Society - ISSN: 0163-4437 Websites (up to 6) http://www.screenonline.org.uk/ https://www.raindance.org/low-budget-filmmaking-under-10000/ https://www.studiobinder.com/blog/10-production-design-tips-for-filmmakers-on-a-budget/ https://nofilmschool.com/2015/09/4-tips-low-budget-tips-no-budget-film-festival https://www.shortoftheweek.com/ https://www.futureshorts.com/








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Year 2 (Level 5) Modules

Module Descriptor FPRD01

Module Code FPRD01


Module Title Advanced Visual Studies

Credits 20


Status Proposed



Associated programmes FdA Film Production FdA Creative Media Production FdA Make-up Artistry and Hair

Content (Indicative) (Compulsory) This module seeks to develop the learning from Visual Studies and give students the critical thinking tools to be able to undertake advanced analysis of a variety of different media forms. It will also aim to develop the students ability to critically engage with broader cultural contexts in which to position their practice and areas of specialist knowledge. It will also aim to provide students with the research tools to be able to undertake an independently designed critical essay on a topic of their choosing - with tutor support.

Introduction to Alternative Forms & Art Film.

Introduction to theoretical approaches.

Focus on advanced research techniques and essay construction.

Focus on Film Movements of the 20th & 21st Century.

Focus on Design Movements of the 20th & 21st Century.

Focus on advanced Film Studies (Film as Philosophy/Post Structuralism/Authorship)

Focus on advanced textual interpretation skills.


Lectures Seminars Tutorials Directed Study and Reading Flipped classroom sessions Group discussions


1. Analyse the techniques, codes and conventions that are used to construct visual imagery and their meanings.

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2. Understand how to create a complex proposal for an independently justified research project relating to visual studies.

3. Demonstrate an advanced ability to research using methods appropriate to the critical themes, theories and concepts in contemporary visual studies.

4. Apply advanced analytical thinking to the enquiry and exploration of ideas and contexts in relation to critical themes, theories and concepts within contemporary visual studies




RESEARCH PROPOSAL


40% 1, 2.

ESSAY


60% 3, 4.

Indicative reading (Compulsory) Books (up to 12) BERGER, J. and BERGER, J. (1973). Ways of seeing; a book made by John Berger. New York: Viking Press. BELSEY, C. (2006). Post-structuralism. Oxford: Oxford University Press. BARTHES, R. and LAVERS, A. (2000). Mythologies. London: Penguin. HAYWARD, S. (2017) Cinema Studies: The Key Concepts (Routledge Key Guides). 5th ed. Oxford: Routledge MIRZOEFF, N. (2009). An introduction to visual culture. New York: Routledge. MONACO, J. (2009) How to Read a Film: The World of Movies, Media, Multimedia: Language, History, Theory. New York: Oxford University Press. PRAMAGIORRE, M. & WALLIS, T. (2011) Film – A Critical Introduction. London: Lawrence King. ROSE, G. (2016). Visual methodologies. London: SAGE. BRAUDY, L. and Cohen, M. (2009). Film theory and criticism. New York: Oxford Univ. Press. HARLAND, Richard (2010) Superstructuralism: The Philosophy of Structuralism and Post-structuralism. London: Routledge. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Broadcast: Film and Television - OCLC:1043120303 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166

Websites (up to 6) https://www.bfi.org.uk/ https://www.filmsite.org/ https://www.imdb.com/ https://www.thisiscolossal.com/ http://www.aestheticamagazine.com/

https://www.bfi.org.uk/

https://www.filmsite.org/

https://www.imdb.com/

https://www.thisiscolossal.com/

http://www.aestheticamagazine.com/

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Module Code FPRD02


Module Title Screen Craft 2

Credits 20


Status Proposed



Study Period A

Content (Indicative) (Compulsory) Focus on the quality of the product as well as the processes, considering:

1. Near-professional standard production management 2. Advanced practical skills utilising digital video cameras, lighting & sound in different contexts

Production processes including scheduling, call sheets and budget considerations linked with building solid foundations of the craft skills across cinematography, sound and editing practices. Principles of lighting and sound will be explored alongside techniques and approaches to create different forms of content for film productions, developing an understanding of professional practice through reflection. Teaching and Learning Experience (Compulsory)

1. Guest Speakers 2. Lectures 3. Flipped Classroom Sessions 4. Seminars 5. Tutorials 6. Workshops 7. Practical Sessions 8. Practical Outputs 9. Critical reflection


1. Confidently use a range of appropriate technology relevant to a chosen specialism for film production, to an industry standard.

2. Use and thoroughly document a range of production techniques to creatively solve any problems arising and deliver a moving image project adhering to the brief, length, format and deadline

3. Apply and evaluate a comprehensive understanding of drive, autonomy and entrepreneurship with reference to a defined specialist role;

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WORKBOOK


PRACTICAL PROJECT

EVALUATION


100% 1, 2, 3

Indicative reading (Compulsory) Books (up to 12) Ascher, S. (2013). The Filmmaker's Handbook. New York: Plume. Box, H. (2003). Set lighting technician's handbook. Amsterdam: Focal Press. Bozak, N. (2011) The Cinematic Footprint: Lights, Camera, Natural Resources. New Jersey: Rutgers University Press. Brown, B. (2017). Cinematography: Theory and Practice. 3rd ed. Oxon: Routledge. Field, S. (2005). Screenplay: Foundations of Screenwriting. New York: Bantam Dell. Jones, C. and Jolliffe, G. (2006). The Guerilla Film Makers Pocketbook. New York: Continuum. Katz, S. (2011). Film directing shot by shot. [United States]: Michael Wiese Productions. Kenworthy, C. (2012). Master shots. Studio City, CA: Michael Wiese Productions. Landau, D. (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image (The CineTech Guides to the Film Crafts). London: Bloomsbury Academic. Mercado, G. (2010). The Filmmaker's Eye: Learning (and breaking) the rules of cinematic composition. London: Focal Press. Murch, W. (2001). In the blink of an eye: A perspective on film editing. 2nd ed. Los Angeles: Silman-James Press. Zettl, H. (2014). Sight Sound Motion: Applied Media Aesthetics. 7th ed. Boston: Wadsworth. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166 Websites (up to 6) https://www.premiumbeat.com/blog/how-to-make-film-video/ https://www.raindance.org/low-budget-filmmaking-under-10000/ https://www.studiobinder.com/blog/10-production-design-tips-for-filmmakers-on-a-budget/ https://nofilmschool.com/2015/09/4-tips-low-budget-tips-no-budget-film-festival https://www.shortoftheweek.com/ https://www.futureshorts.com/

https://www.premiumbeat.com/blog/how-to-make-film-video/






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Module Code FPRD03


Module Title Documentary Film

Credits 20


Status Proposed




Introduction to the development of the moving image documentary format o Different modes of documentaries o Journalistic responsibilities o Democratisation of filmmaking process through technology o Debate: “Documentaries are no more truthful than fiction films because filmmakers

manipulate reality when they make their films.” Researching and planning for documentary production Documentary production

o Focus on practical skills incorporating interview techniques and editing

Teaching and Learning Experience (Compulsory) Lectures Independent learning Seminars Tutorials Practical Sessions Practical Outputs Critical reflection


1. Demonstrate a comprehensive knowledge and understanding of media values and practices, considering legal, ethical and regulatory frameworks, which underpin the production of documentary filmmaking.

2. Thoroughly research, retrieve, generate and evaluate new and existing information, appropriate to documentaries.

3. Apply contemporary professional working practices within a specified production context, and deliver a final documentary film, referencing sources appropriately

4. Document and evaluate effective communication, team working and other appropriate employability skills within the production of a documentary

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ESSAY up to 1500 words (or equivalent) 30% 1, 2


WORKBOOK

PRACTICAL PROJECT

EVALUATION


70% 2, 3, 4

Indicative reading (Compulsory) Books (up to 12)

Ames, E. (2012). Ferocious Reality: Documentary according to Werner Herzog. Minneapolis: University of Minnesota Press. Aufderheide, P. (2007). Documentary Film: A very short introduction. Oxford: Oxford University Press. Bernard, S. (2016). Documentary storytelling. 4th ed. Oxon: Focal Press. Chapman, J. (2007). Documentary in Practice: filmmakers and production choices. Polity. Hampe, B. (2007). Making documentary films and videos. New York: H. Holt. Jolliffe, G. and Zinnes, A. (2012). The documentary filmmakers handbook. New York, NY: Continuum. Nichols, B. (2017). Introduction to Documentary. 3rd ed. Indiana University Press. Quinn, J. (2015). Adventures in the Lives of Others: Ethical Dilemmas in Factual Filmmaking. London: I.B. Tauris. Quinn, J. (2012). This Much is True: 14 Directors on Documentary Filmmaking. London: Bloomsbury. Journals (up to 6) Johnson, D. (2012). Cinematic Destiny: Marvel Studios and the Trade Stories of Industrial Convergence. Cinema Journal, 52(1), pp.1-24. Mak, M. (2019). Digital Cinematic Technology and The Democratization of Independent Cinema. PhD. McGill University. Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166

Websites (up to 6) https://www.premiumbeat.com/blog/a-complete-guide-to-documentary-filmmaking/ https://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling http://films.nfb.ca/capturing-reality/?detectflash=false https://www.raindance.org/5-simple-mistakes-documentary-filmmakers-make/ https://www.indiewire.com/2014/09/michael-moores-13-rules-for-making-documentary-films-22384/

https://www.premiumbeat.com/blog/a-complete-guide-to-documentary-filmmaking/

https://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling

http://films.nfb.ca/capturing-reality/?detectflash=false

https://www.raindance.org/5-simple-mistakes-documentary-filmmakers-make/

https://www.indiewire.com/2014/09/michael-moores-13-rules-for-making-documentary-films-22384/

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Module Code FPRD04 Version (completed by QASU) Module Title Cult Cinema: Beyond the Mainstream - Controversy and Cultures. Credits 20 Valid From (completed by QASU) Status Proposed Subject Board (completed by QASU) Academic Level (FHEQ) 5

Content (Indicative) (Compulsory) This unit aims to introduce the students to the main theories involved in the study of alternative or ‘Cult Cinema’ and its position within the broader pantheon of mainstream cinema.

Introduction to theories and debates surrounding cult film and paracinema. Exploration of how cult film studies relates to broader concepts including reception studies,

auteur theory, fandom, and stardom. Investigate a broad range of examples of cult film and paracinema, with a focus on the formal

characteristics they share and that make them distinct. Consideration of issues related to identification of cult texts in relation to social, cultural and

technological contexts. Developing ideas related to personal practice and operating outside of the mainstream and

accepted rules.

Teaching and Learning Experience (Compulsory) Lectures Seminars Tutorials Directed Study and Reading Practical Outputs


1. Demonstrate an understanding of how subcultural film seeks to differentiate itself from the core values and practices of the industry and work outside of the traditional legal, ethical and regulatory frameworks.

2. Apply an understanding of the key historic and emerging cultural terminology, theories, theorists and concepts which form the basis of film and visual language.

3. Through exploration of both text and context, and the subversion thereof, be able to construct a short, alternative moving image project for distribution online for a range of audiences, demonstrating autonomy.

4. Provide evidence of effective, near professional, communication within the scope of the project.




ESSAY up to 2500 words (or equivalent) 50% 1, 2.

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WORKBOOK

PRACTICAL PROJECT

up to 2500 words (or equivalent) including a short filmed practical project

50%

3, 4.

Indicative reading (Compulsory) Books (up to 12) BAREFOOT, Guy (2017) Trash Cinema: The Lure of the Low Wallflower Press (Epub) BORDWELL David & THOMPSON Kristin (2008) Film Art: An Introduction McGraw Hill COOK Pam ed. by BERNIK Mieke (2007) The Cinema Book 3rd edition London: British Film Institute MACKENDRICK A (2004) On Film-Making The Craft of The Director Faber and Faber IRVING David .K. and REA Peter. (2010 Producing and Directing the Short Film and Video Focal press JOLLIFFE Genevieve & JONES Chris (2006) The Guerilla Film Makers Handbook 3rd edition Continuum International Publishing Group Ltd MATHIJS, E. and SEXTON, J. (2011). Cult cinema. Malden, MA: Wiley-Blackwell. MATHIJS, E. (2009). The cult film reader. Maidenhead: Open University Press. REES Angela.L. (1999) A History of Experimental Film and Video British Film Institute SCONCE, J. (2007). Sleaze artists. Durham: Duke University Press. Journals (up to 6) Screen - ISSN 0036-9543 Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166 Media, Culture and Society - ISSN: 0163-4437 New Review of Film & Television Studies- ISSN: 1740-7923

Websites (up to 6) https://paracinema.net/ http://cultmoviesmagazine.com/ https://www.cineaste.com/winter2008/cult-film-a-critical-symposium

https://paracinema.net/

http://cultmoviesmagazine.com/

https://www.cineaste.com/winter2008/cult-film-a-critical-symposium

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Module Code FPRD05


Module Title Sound and Film "You ain't heard nothin' yet"

Credits 20


Status Proposed



Associated programmes FdA Film Production FdA Creative Media Production


Focus on the history and development of sound practice o Landmark sound designers and technological development

Focus on Soundtrack Design o Use of correct equipment to capture sounds for a moving image o Sound effects and Foley o Soundtrack design techniques to enhance production aesthetics - mixing and mastering

audio


Lectures Seminars Tutorials Workshops Practical Sessions Practical Outputs Critical reflection


1. Demonstrate a detailed knowledge and understanding of historical theory which underpins the practice of sound design.

2. Conceptualise, design and construct sounds for moving image, which convey pre conceptualised meanings in a specific audio visual production context, utilising appropriate platforms for output.

3. clearly articulate visual, written and verbal communication skills in a diversity of subjects of varying complexity and for a range of audiences.

4. Apply professional working practices and critically evaluate appropriate employability skills to specified production

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WORKBOOK

PRACTICAL PROJECT

EVALUATION


70% 2, 3, 4

Indicative reading (Compulsory) Books (up to 12) Avarese, J. (2017) Post Sound Design: The Art and Craft of Audio Post Production for the Moving Image (The CineTech Guides to the Film Crafts). London: Bloomsbury Academic. Cross, M. and Feist, J. (2013). Audio post production for film and television. Berklee Press. Gibbs, T. (2007) The Fundamentals of Sonic Art and Sound Design. London: Fairchild Books Holman, T. (2010). Sound for Film and Television. 3rd ed. Focal Press. McGrath, D. (2001). Editing & post-production. Boston: Focal Press. Rose, J. (2014) Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix. 4th Ed. New York: Focal Press. Uva, M. (2013) The Grip Book: The Studio Grip’s Essential Guide. 5th ed. New York: Focal Press. Viers, R. (2012) The Location Sound Bible: How to Record Professional Dialog for Film and TV. 12th ed. Studio City, CA: Michael Wiese Productions. Viers, R. (2011). The sound effects bible. [United States]: Michael Wiese Productions. Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Broadcast: Film and Television - OCLC: 1043120303 Scope (University of Nottingham) - ISSN: 1465-9166

Websites (up to 6) https://www.bbc.co.uk/programmes/p01gg3gr https://nofilmschool.com/2014/10/7-great-techniques-hiding-lav-microphones www.creatingsound.com www.designsound.org www.mpse.org www.soundonsound.com

https://www.bbc.co.uk/programmes/p01gg3gr

https://nofilmschool.com/2014/10/7-great-techniques-hiding-lav-microphones

http://www.creatingsound.com/

http://www.designsound.org/

http://www.mpse.org/

http://www.soundonsound.com/

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Module Code FPRD06 Version (completed by QASU) Module Title Practical Production (Final Project) Credits 20 Valid From (completed by QASU) Status Proposed Subject Board (completed by QASU) Academic Level (FHEQ) 5

Content (Indicative) (Compulsory) This module encourages the students to focus on creating a moving image project of their own design - which consolidates the skills and knowledge learned over the previous units. The overall aim is to submit the film to both internal and external film festivals and as such the length of the project may be dictated by the criteria for entry to various festivals. Students will be encouraged to consider a range of theories, movements and influences on filmmakers, and will be given an opportunity to apply professional standard filmmaking practices individually or in groups in the completion of a 15-20 minute long moving image project.

Focus on advanced pre-production and time management - use of relevant self designed

paperwork to support development. Focus on undertaking comprehensive production research including festival distribution. Focus on developing a deeper critical understanding of filmmaking/media practice. Focus on practical skills development across all areas of production and post-production. Focus on self reflective practice and evaluation of finished product.

Teaching and Learning Experience (Compulsory) Lectures Seminars Tutorials Critical reflection Workshops Practical Sessions Practical Outputs


1. Apply a comprehensive understanding of theoretical and professional contexts, in response to a set brief and/or self-initiated project and demonstrate how they can be used to inform personal practice.

2. Apply confident and professional working practices to planning and producing a specified film production, within identified industry parameters, utilising appropriate platforms for output purposes.

3. Use and thoroughly document a range of production techniques to creatively solve any problems arising and deliver a moving image project adhering to the brief, length, format and deadline, referencing sources and ideas.

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4. Document effective management of time, personnel and resources by drawing on prior knowledge of planning, organisational techniques and project management tools, to create a final filmed project.

5. Evaluate existing entrepreneurial skills and make suggestions for personal development to support own career development.




RESEARCH PROPOSAL & PITCH

up to 1000 words (or equivalent) 20% 1


WORKBOOK

PRACTICAL PROJECT

EVALUATION

3500 - 4000 words (or equivalent) including a filmed practical project

80% 2, 3, 4.

Indicative reading (Compulsory) Books (up to 12) ANTHONY,J.L. (2003) Beyond The Lens:, London: Association of Photographers ASCHER, S. (2013) The Film Makers Handbook: A Comprehensive Guide for The Digital Age. New York: Plume. GORMAN, S. and LETOURNEAU, T., 2004. Placing Shadows: Lighting Techniques for Video Production. Oxford: Focal. HUMPHRIES, M. (2017) Visual Storytelling with Color and Light. Boca Raton, FL: CRC Press. JOLIFFE, G, 2006, The Documentary Film Makers Handbook: A Guerilla Guide, Continuum Publishing Ltd KATZ, S., 1991, Film Directing Shot by Shot: Visualizing from Concept to Screen, CA, USA, Michael Wise Productions KENWORTHY, C., 2009. Master shots : 100 advanced camera techniques to get an expensive look on your low-budget movie, Studio City CA: Michael Wiese Productions. MURCH, W., 2001. In the Blink of an Eye: A Perspective on Film Editing. Los Angeles: Silman-James Press. ROSE, J. (2014) Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix. 4th Ed. New York: Focal Press. SHERIDAN, S., 2004. Developing Digital Short Films. London: New Riders. WALES, L. (2017) The Complete Guide to Film and Digital Production: The People and The Process. 3rd ed. New York: Focal Press.

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Journals (up to 6) Sight and Sound - ISSN: 0037-4806 Film Philosophy (EUP) - ISSN: 1466-4615 Scope (University of Nottingham) - ISSN: 1465-9166 Media, Culture and Society - ISSN: 0163-4437 Websites (up to 6) http://www.screenonline.org.uk/ https://www.raindance.org/low-budget-filmmaking-under-10000/ https://www.studiobinder.com/blog/10-production-design-tips-for-filmmakers-on-a-budget/ https://nofilmschool.com/2015/09/4-tips-low-budget-tips-no-budget-film-festival https://www.shortoftheweek.com/ https://www.futureshorts.com/








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