unit title fact into fiction unit code ffip5024 location ...webdocs.ucreative.ac.uk/film production...

UNIT TITLE Fact into Fiction Unit Code FFIP5024 Location Farnham Level Level 5 Duration (number of weeks) 12 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT This unit is designed to develop your approach to fiction film making from a starting point in the research of a true-life event. All good screen stories need to be credible, grounded in the reality of human experience. As a group, you will fully investigate your chosen event and, rather than simply re-staging it, use it as a foundation on which to construct a contemporary cinematic story. Fiction films based on real world events have a long tradition in the history of cinema and the dramatisation of factual material presents film-makers with particularly exciting challenges. In this unit you will be encouraged to confront issues of truth and authenticity in the process of creating your film. You will be required to take on a specialist role whilst making a fiction production and further develop your technical skills in this area. All members of the production team will be required to engage with the research, script and production development and engage with professional levels of on set protocols and project management. AIMS The aims of this unit are: A1 to develop technical knowledge, skills and understanding of fiction

production/post production processes and practices.

A2 to develop a critical awareness of the issues inherent in making short fiction films based upon real events.

A3 to develop research, story development and screenwriting skills A4 to produce a fiction film based on research.

A5 to develop creative and productive work processes in a group situation and

through independent study.

A6 to further develop understanding and skills of crew roles and responsibilities LEARNING OUTCOMES On satisfactory completion of the unit you will be able to:

LO1 research and develop a fiction project appropriate to the short film form based on a real life event.

LO2 demonstrate an aptitude and understanding of the technical processes involved in

fiction film production. Including developing technical skills in a specialist area of knowledge

LO4 work productively and creatively in a group situation. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 90 No. of hours of independent activity 210 No. of hours of placement activity 0 This will comprise: Lectures, workshops, group tutorials, progress reviews, rushes screening, independent study and research.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx

word count where

applicable

Portfolio

100

A 3-5 minute group film production to a given brief

Contribution to project development through the group blog and evidence of individual research and development

A critically reflective self-assessment (500 words)

Evidence through peer group assessment of effective group

PLEASE SELECT1 Portfolio

500

1 Manually type the correct selection from the list available on double clicking in the box

working Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills) Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100 Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100 Practical

Table A4 – Assessment Criteria

CRITERION MAPS TO LEARNING OUTCOME The production of a short film from research and writing script to appropriate length, through to realisation on the screen

LO1, L02

Applied use of sync sound film equipment, production technologies, techniques and processes.

LO1, LO2

Group working practices, individual research and development in a role and evaluation of project work.

LO3

REFERENCE MATERIAL Essential Brown, Blain. (2011) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, Focal Press; 2nd edition. Brown, Blain. (2007) Motion Picture and Video Lighting, Focal Press; 2 edition

Dancyger, Ken. (2010) The Technique of Film and Video Editing: History, Theory, and Practice, Focal Press; 5th edition. Holman, Tomlinson. (2010) Sound for Film and Television, Focal Press; 3rd edition. Katz, Steven. (1991) Film Directing Shot by Shot. Michael Weise Productions. Katz, Steven. (2004). Film Directing: Cinematic Motion: A Workshop for Staging Scenes. Michael Wiese Productions; 2nd Revised edition LoBrutto, Vincent. (2002) The Filmmaker's Guide to Production Design. Allworth Press,U.S. Rooney, Bethany & Belli, Mary Lou. (2011) Directors Tell the Story: Master the Craft of Television and Film Directing, Focal Press. Rizzo, Michael. (2005) The Art Direction Handbook for Film. Focal Press. Wheeler, Paul. (2005) Practical Cinematography, Focal Press. 2nd edition. Recommended Murch, Walter. (2001) In the Blink of an Eye: A Perspective on Film Editing, Silman-James Press, U.S. 2nd Revised edition. Paget, Derek. (2011) No Other Way to Tell it: Docudrama on Film and Television. Manchester University Press; 2nd Revised edition Rabiger, Michael. (2007). Directing: Film Techniques and Aesthetics, Focal Press; 4th edition. Reisz, Karel and Millar, Gavin. (2009) Technique of Film Editing, Reissue of 2nd Edition, Focal Press. Rosenthal, Alan. (1999). Why Docudrama? Illinois: Southern Illinois University Press. Rowlands, Avril. (2000) The Continuity Supervisor. 4th ed. Oxford: Focal Press. Simon, Mark. (2000). Storyboards: Motion in Art. 2nd ed. Oxford: Focal Press. Small, Robin. (2000). Production Safety for Film, Television, and Video. London: Focal Press. Sonnenschein, David. (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Michael Wiese Productions. Weston, Judith. (1999) Directing Actors: Creating Memorable Performances for Film and Television, Michael Wiese Productions. Online http://www.skillset.org/film/jobs/ Skillset - Film job profiles http://www.castingcallpro.com/uk/ casting actors site

http://www.starnow.co.uk/ casting actors site http://www.talentcircle.org/default.aspx filmmakers network http://www.bbc.co.uk/filmnetwork/ BBC Film network - view shorts and filmmakers network http://shootingpeople.org/nav/login_join#competitions Shooting People – view shorts and filmmakers network http://www.dailymotion.com/gb/channel/shortfilms#hp-v-t8 Daily Motion - view short films

UNIT TITLE Film History and Theory 2 Unit Code FFIP5002 Location Farnham Level 5 Duration (number of weeks) 29 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 04/03/2016

CONTENT Complementary to the practice units, this unit provides an historical overview of some of the various codes and conventions, drawn from documentary and dramatic realism, with which reality is represented in film and television. You will explore and evaluate a range of theoretical and interpretative approaches used to analyse the production and consumption of documentary and drama documentary texts. During the unit you will examine the interface between representations of reality and their possible fictionalisations and be encouraged to evaluate film and television texts as documents and as instruments of persuasion located within diverse socio-political contexts. You will further develop your academic research and study skills. The content of the unit is delivered through lectures, seminars, workshops and screenings and requires you to engage in independent study and research to complete two written assessment tasks. AIMS The aims of this unit are to: A1 explore the historical contexts of non-fiction and hybrid texts and their relationship

to reality.

A2 introduce and evaluate a range of theoretical and interpretative approaches used to analyse the production and consumption of non-fiction and hybrid film and television texts

A3 explore the interface between representations of reality and their possible

fictionalisations using a range of examples A4 study film and television texts as documents and as instruments of persuasion

located within diverse socio-political contexts A5 further develop a range of appropriate academic research and study skills. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 articulate the relationship between historical context, non-fiction and hybrid texts

and their relationship to reality. LO2 identify and evaluate a range of theoretical and interpretative approaches and use

them to analyse the production and consumption of non-fiction and hybrid film and television texts

LO3 analyse the interface between representations of reality and their possible

fictionalisations using appropriately identified examples LO4 evaluate film and television texts as documents and as instruments of persuasion

located within diverse socio-political contexts LO5 accurately and effectively use more advanced academic research and study skills. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity2 100 No. of hours of independent activity 200 No. of hours of placement activity 0 This will comprise: Compulsory lectures, seminars, workshops, screenings and independent study and research



Weigh-ting



Word Count Approx word

22 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH


(%) Where the component

comprises more than one assessment task

double click in the box to see options.

The options equate to the assessment types

in table A2

count where applicable

Written Assignment (including essay)

100 Two essays – 50% each

Written Assignment (eg essay)3

3000 words each essay

Table A2 – KIS Categories for Assessment



Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework



Coursework



Practical




CRITERION

MAPS TO LEARNING OUTCOME

Demonstrate knowledge and understanding of the historical contexts of non-fiction and hybrid texts and their relationship to reality

LO 1

Identify and understand a range of theoretical and interpretative approaches and use them to analyse the production and consumption of non-fiction and hybrid film and television texts

LO 2

Articulate knowledge and understanding of LO 3 3 Manually type the correct selection from the list available on double clicking in the box

the interface between representations of reality and their possible fictionalisations using appropriately identified examples

Apply relevant theoretical approaches to analyse film and television texts as documents and as instruments of persuasion located within diverse socio-political contexts

LO 4

Accurately and effectively use a range of appropriate academic research and study skills

LO 5

REFERENCE MATERIAL4 Essential Aitken, Ian (ed.). (1998). The Documentary Film Movement. Edinburgh: Edinburgh University Press. Bruzzi, Stella. (2006). New Documentary: A Critical Introduction. 2nd edition. London: Routledge. Cowie, Elizabeth. (2011). Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota Press. Earnshaw, Steven. (2010). Beginning Realism. Manchester: Manchester University Press Ellis, John. (2011). Documentary : witness and self-revelation. London :Routledge. Gaines, Jane, and Renov, Michael. (eds.). (1999). Collecting Visible Evidence. Minnesota: University of Minnesota Press. Hall, Stuart. Evans, Jessica. and Nixon, Sean. (2013). Representation – Cultural Representations and Signifying Practices. UK: Sage Nichols, Bill. (1992). Representing Reality. Indiana: Indiana University Press. Rosenthal, Alan (ed.). (1999). Why docudrama? Fact-fiction on film and TV. Carbondale: Southern Illinois Press. Winston, Brian. (Ed). (2013). The Documentary Film Book. London:BFI Recommended Benson, Thomas W and Anderson, Carolyn. (2002). Reality Fictions. The Films of Frederick Wiseman. 2nd edition. Illinois: Southern Illinois University Press. Hight, Craig and Roscoe, Jane. (2001). Faking It: Mock-Documentary and the Subversion of Factuality. Manchester: Manchester University Press. 4 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

Hill, Annette. (2007). Restyling Factual TV. London and New York: Routlege. Jerslev, Anne (ed.). (2002). Realism and 'reality' in film and media. Copenhagen: Museum Tusculanum Press. King, Geoff. (2005). The spectacle of the real: from Hollywood to 'reality' TV and beyond. Bristol: Intellect. Paget, Derek. (1998). No Other Way to Tell It, Dramadoc/docudrama on television. Manchester: Manchester University Press. Winston, Brian. (2000). Lies, Damn Lies and Documentaries. London: BFI.

UNIT TITLE The Other Cinema Unit Code FFIP5025 Location Farnham Level 5 Duration (number of weeks) 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version

CONTENT

This unit will introduce you to contemporary moving image work by a range of filmmakers who are working outside or against mainstream or dominant commercial cinema and television and its modes of production.

Often these works are marginal in nature due to unconventional means of production. These films use radical and experimental approaches to filming and exhibition, embracing subjective, first person and political points of view.

Looking at films and filmmakers who have worked in these imaginative ways, students will be encouraged to develop their own project work based on their personal experience and beliefs.

This unit allows you to explore alternative modes of short filmmaking through the translation of personal experience to the screen. You will investigate inventive forms of distribution, mobile cinemas, experimental film clubs and Internet sited projects. In addition you will be given a historical insight into Underground filmmaking collectives, film making co-operatives, arts labs and the workshop movement.

AIMS The aims of the unit are:

A1 to develop your own creative expression of issues of which you have direct experience into personal project work

A2 to develop the ability to research and critically evaluate and situate personal project work.

A3 to develop a critical understanding of the cultural contexts of contemporary moving

image practice. A4 to reflect on the process and production of personal project work LEARNING OUTCOMES On satisfactory completion of the unit you will be able: LO1 to develop a production on personal experience LO2 to show evidence of appropriate research and engagement with the seminar

programme LO3 to reflect critically on personal project work TEACHING & LEARNING METHODS

No. of hours of scheduled activity 42 No. of hours of independent activity 158 No. of hours of placement activity 0 This will comprise: Lectures, screenings, seminars, tutorials and independent study.




Weigh-ting (%)


Where the component




The options equate to the assessment types in

table A2

Word Count Approx

word count where

applicable

Portfolio

100

A short (up to

3minutes) film/ sound time-based production based on



personal experience

A record of research and 500 word self-evaluation.

500




Set exercise (under exam conditions but not testing practical skills) Written


Report Coursework





Coursework



Practical



Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING OUTCOME Development of personal ideas and appropriate research

(LO2)

Presentation of a completed assignment in appropriate format

(LO1)

Ability to reflect constructively on project work

(LO3)

REFERENCE MATERIAL Connolly, Maeve. (2009). The Place of Artists’ Cinema, Space, Site and Screen. Intellect Curtis, David. (2006). A History of Artists’ Film and Video in Britain. London: BFI

Danino, Nina and Maziere, Michael. (2003). The Undercut Reader: critical writings on artists’ film and video. London: Wallflower Press. Dickinson, Margaret. (1999). Rogue Reels. London: BFI. Elwes, Catherine. (2005). Video Art: A Guided Tour. London: I.B. Tauris Jarman Derek. (1992). Modern Nature: The Journals of Derek Jarman Vintage Classics; New edition Knight, Julia and Thomas, Peter. (2012). Reaching Audiences: distribution and promotion of alternative moving image. Intellect New, Jennifer. (2005). Drawing from Life: The Journal as Art. Princeton Architectural Press MacKenzie, Scott (editor), (2014). Film Manifestoes and Global Cinema Cultures, A Critical anthology. University of California Press Rascaroli, Laura. (2009). The Personal Camera: Subjective Cinema and the Essay Film. Columbia University Press Reekie, Duncan. (2007). Subversion: The Definitive History of Underground Cinema. London: Wallflower Press Rees, A. L. (1999). A History of Experimental Film and Video. British Film Institute Sitney, Adams P. (2002). Visionary Film: The American Avant-Garde 1943 – 2000. 3rd ed. New York: Oxford University Press. Smith, Keri (2011) How to Be an Explorer of the World: Portable Life Museum. Penguin

UNIT TITLE Creative Documentary Unit Code FFIP5004 Location Farnham Level 5 Duration 14 Weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production

DATE FIRST APPROVED DATE OF THIS VERSION 06/02/2012

CONTENT

This unit examines story telling within the documentary form, and encourages you to undertake a documentary journey that reveals unexpected realities. Through collaborative working you will gain confidence in understanding the stories and kinds of story-telling that are appropriate to documentary film-making. Since the inception of cinema the documentary as an art form has evolved in the way it represents reality. Documentary makers seek to discover, interpret and present a ‘truth’, often by exploring new ways of seeing and understanding the world around us. The process of recording and presenting a view of reality often presents the filmmaker with complex social, moral and ethical problems. This unit allows you to explore the practical and theoretical problems inherent in documentary production whilst engaging in a critical approach to the subject. You will further develop your research skills and apply them to documentary production. Through articulation and challenging of the underlying ideas and dilemmas inherent in the documentary form, you will be encouraged to reveal the world we live in through unexpected, imaginative, humane and thought-provoking film-making. Working in a group you will research and produce a ten minute video documentary to a given brief, developing your production practices and techniques including camera and editing. As an individual you will contribute to a group online blog. The blog will be used for posting the research materials that have informed the production including shot-lists, schedules, photographs, drawings, documentary treatments and other visual ideas as well as for day to day communication with other group members. AIMS The aims of this unit are: A1 to further develop your documentary research skills. A2 to further develop your documentary production skills A3 to encourage you to investigate and challenge unfamiliar and difficult territory LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 develop a rigorous and imaginative group production from initial research through

treatment to completed film, capturing the essential elements that make a scene special

LO2 research and identify the kind of story and character ripe for investigation LO3 understand the importance of establishing the subject’s trust LO4 display an aptitude for, and understanding of the technical procedures in

high-end video production LO5 demonstrate an understanding of the relationship between the

documentary maker, the subject and the audience. TEACHING & LEARNING METHODS

No. of hours of scheduled activity 51 No. of hours of independent activity 149 No. of hours of placement activity 0 This will comprise: lectures, workshops, group tutorials, rushes-screening, pitching review and independent study and research.

ASSESSMENT REQUIREMENTS

Activity type % of

assessment KIS category Total % for unit

Written exam 0 Written 0

Written assignment, including essay

0 Coursework

100

Report 0 Coursework

Dissertation 0 Coursework


Project output (other than dissertation)

0 Coursework

Oral assessment and presentation

0 Practical


Practical

Set exercise (including critiques) 0 Varies - see notes 0 This will comprise a portfolio assessment :

a finished 10 minute group documentary film contribution to documentary project development through the group blog a short (approximately 3 minute) individual reflective presentation at the peer

group assessment of each student's work on the project

ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Research methodology for the production of documentary films

LO1, LO2, LO3

Application of technical processes in digital video production

LO1, LO4

Issues of representation in moving image production

LO1,LO3, LO5

Group working practices

LO1

Documentary research, production and post-production

LO1, LO4

REFERENCE MATERIAL Recommended Baker, Maxine. (2005). Documentary in the Digital Age. Oxford: Focal Press Bruzzi, Stella. (2006) New Documentary: A Critical Introduction. London, England: Routledge. Dancyger, Ken. (2010). The Technique of Film and Video Editing: History, Theory, and Practice. Oxford: Focal Press. De Jong, Wilma, Rothwell, Jerry and Knudsen, Erik. (2011) Creative Documentary Theory and Practice. Harlow: Pearson Education Ltd. Kaufmann, Sam and Kennedy, Ashley. (2012). Avid Editing, Fifth Edition. A Guide for Beginning and Intermediate Users. Oxford: Focal Press. Laytin, Peter. (2001). Creative Camera Control, Third Edition. Oxford: Focal Press. Macdonald, Kevin and Cousins, Mark. (2006). Imagining Reality: Faber Book of the Documentary. Rabiger, Michael. (2009). Directing the Documentary. Oxford: Focal Press.

UNIT TITLE Cinematography Unit Code FFIP5026 Location Farnham Level 5 Duration (number of weeks) 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version

CONTENT This unit affords you the opportunity to explore cinematography and visual storytelling in depth and to challenge your preconceptions of the role. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, which will cover aspect ratios, framing, composition, camera angles, lenses, depth of field, the moving camera as well as lighting for

exteriors and exteriors, alongside independent study. Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of cinematography

and moving image practice A2 Prepare you for the specialist role you may wish to undertake during Stage 3 and

beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of cinematography and relationship to moving image

practice. LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list INDICATIVE TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:

No. of hours of scheduled activity 64 No. of hours of independent activity 106 No. of hours of placement activity 30 This will comprise: Practical Workshops, lectures, independent study and research Optional self-directed placement, if agreed with unit leader

If you choose not to undertake a placement in this unit, the indicative hours will be:

No. of hours of scheduled activity 64 No. of hours of independent activity 136 No. of hours of placement activity 0 This will comprise: Practical Workshops, lectures, independent study and research




Weigh-ting (%)


Where the component




The options equate to the assessment types in

table A2

Word Count Approx

word count where

applicable

Portfolio

100

A portfolio including a location lighting project, research, plans, rushes, edited version of the scene, equipment lists, floor plans, tramlined script, shot list, camera report sheets and related technical paperwork, and a self-assessment statement and critical evaluation.

A 1000 word

critically evaluative report on a work placement can be submitted in place of one part of the above in negotiation with the unit tutor


1000





Written


Report Coursework





Coursework




Practical




CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of a cinematographer

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in cinematography

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in cinematography

LO1, LO2, LO3

REFERENCE MATERIAL Essential Association of European Cinematographers. (2003) Making Pictures: A Century of European Cinematography. Aurum Press Ltd Bergery, B. (2002), Reflections: Twenty-One Cinematographers At Work, ASC Holding Corp Brown, B. (2007), Motion Picture And Video Lighting, (2nd Ed) Focal Press Brown, B. (2011), Cinematography: Theory And Practice: Image Making For Cinematographers And Directors, (2nd Ed) Focal Press Frost, B. Jacqueline (2009) Cinematography for Directors: A Guide for Creative Collaboration. Michael Wiese Productions; Ill edition Hart, D. (1996), The Camera Assistant: A Complete Professional Handbook, Focal Press Malkiewicz, Kris & Mullen, M. David. (2005) Cinematography: The Classic Guide to Filmmaking, Revised and Updated for the 21st Century. Simon & Schuster Ltd; 3rd Revised edition Recommended Adams, Ansel. (1995) The Negative. Little, Brown and Company; New edition Goodridge, Mike & Grierson, Tim. (2012) FilmCraft: Cinematography ILEX Jackman, John. (2010) Lighting for Digital Video and Television, Focal Press; 3rd edition.

Katz, Steven D. (1991) Film Directing Shot by Shot: Visualizing from Concept to Screen, Michael Wiese Productions Lancaster, Kurt.(2010) DSLR Cinema: Crafting the Film Look with Video Focal Press Lowell, Ross. (1992) Matters of Light and Depth: Creating Memorable Images for Video, Film, and Stills Through Lighting. Lowell Ligth Mfg Co; Reissue edition Malkiewicz, Kris. (1993) Film Lighting: Talks with Hollywood's Cinematographers and Gaffers Prentice Hall & IBD; Reissue edition Millerson, Gerald. (2009) Television Production Focal Press; 14th edition.

Periodicals: American Cinematographer (www.theasc.com/magazine) British Cinematographer Magazine (www.thecinematographer.info) Internet References: www.cameraguild.com www.cinematography.com www.uk.kodak.com www.fuji.com www.bscine.com

UNIT TITLE Production Design Unit Code FFIP5016 Location Farnham Level 5 Duration 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore production design and visual storytelling in depth and to challenge your preconceptions of the role. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures which will cover script interpretation the principles of set construction, research, scale models and the use of colour, alongside independent study.

Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of production

design and moving image practice A2 Prepare you for the specialist role you may wish to undertake during Stage 3 and

beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of production design and its relationship to moving

image practice LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:





Activity type % of




0 Coursework

100

Report 0 Coursework



Project output (other than dissertation) 0 Coursework


0 Practical

0 Practical skills assessment (including production of an artefact)

0 Practical

Set exercise (including critiques) 0 Varies - see notes 0 This will comprise:

A portfolio of practical work and research including a scale model, research and colour references and a storyboard to a given brief.

A 1000 word critically evaluative report on a work placement can be submitted in place of one part of the above in negotiation with the unit tutor.

ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of a production designer

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in production design

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in production design

LO1, LO2, LO3

REFERENCE MATERIAL Books: Barnwell, J. (2004), Production Design: Architects Of The Screen, Columbia University Press Bellantoni, Patti. (2005) .If it’s Purple, Someone’s Gonna Die: The Power or Color in visual storytelling. Focal Press Calloway, Stephen. (2012). The Elements of Style: An Encycolpedia of Domestic Architectural Detail Mitchell Beazley Ede, Laurie N. (2010) British Film Design: a History. I.B.Tauris Ettedgui, P. (2000), Screencraft: Production Design And Art Direction, Rotavision Littlefield, David. (2007) 3rd edition. Metric Handbook: Planning and Design Data

Architectural Press Lo Brutto, V. (2002). The Filmmakers Guide To Production Design. Allworth Press Olson, R. (1993). Art Direction For Film & Video. Focal Press. Preston, W. (1994). What An Art Director Does: An Introduction To Motion Picture Production Design. Silman-James Press Rizzo, M. (2005). The Art Direction Handbook For Film. Focal Press Whitlock, Cathy (2010). Designs on Film: A Century of Hollywood Art Direction. HarperEntertainment Periodicals: Offscreen Magazine (www.offscreenmagazine.co.uk) Internet References: www.bfi.org.uk http://www.bbc.co.uk/education/lzone/movie/gloss.htm http://www.filmdesigners.co.uk/BFDG/British_Film_Designers_Guild.html http://artdepartmental.com/

UNIT TITLE Directing Unit Code FFIP5017 Location Farnham Level 5 Duration 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore directing and visual storytelling in depth and to challenge your preconceptions of the role. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, which will cover working with actors and developing performance, casting and rehearsing as well as building dramatic structure and constructing emotion, alongside independent study.

Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of directing and

moving image practice A2 Prepare you for the specialist role you may wish to undertake during Stage 3 and

beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of directing and its relationship to moving image

practice. LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:



No. of hours of scheduled activity 64 No. of hours of independent activity 136 No. of hours of placement activity 0

This will comprise: Practical Workshops, lectures, independent study and research


Activity type % of




Coursework

100

Report 0 Coursework



Project output (other than dissertation) 0 Coursework


0 Practical


Practical

Set exercise (including critiques) 0 Varies - see notes 0 This will comprise:

A portfolio comprising a director’s planning folder evidencing research and a filmed and edited scene of no more than 5 minutes to a given brief.


ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of a director

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in directing

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in directing

LO1, LO2, LO3

REFERENCE MATERIAL Books: Katz, S. (1991), Film Directing - Shot By Shot, Michael Wiese Productions Katz, S. (2004), Film Directing: Cinematic Motion: A Workshop For Staging Scenes, (2nd Ed) Michael Wiese Productions Mackendrick, Alexander. (2006) On Filmmaking. London: Faber and Faber Mamet, D. (1992), On Directing Film Penguin Johnstone, K. (1981), Impro - Improvisation For The Theatre, Methuen. Rabiger, M. (2007), Directing: Film techniques And Aesthetics. (4th Ed.) Focal Press Weston, J. (1996), Directing Actors, Michael Wiese Productions

Weston, J. (2008), The Film Directors Intuition: Script Analysis And Rehearsal Techniques, Michael Wiese Productions Periodicals: Filmmaker Magazine (www.filmmakermagazine.com) Internet References: www.filmdirectingtips.com www.actioncutprint.com www.dggb.org

UNIT TITLE Sound Design Unit Code FFIP5018 Location Farnham Level 5 Duration 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore sound design and visual storytelling in depth and to challenge your preconceptions of the role, in both drama and documentary arenas. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, which will cover production and postproduction including stereo recording. Foley recording, ADR, editing, mixing and preparation for screening as well as theoretical investigations in to the use of sound in film, alongside independent study. Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of sound and


beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of sound and its relationship to moving image

practice LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:





Activity type % of assessment

KIS category Total % for unit



0 Coursework

100

Report 0 Coursework




0 Coursework

Oral assessment and presentation 0 Practical


0 Practical

Set exercise (including critiques)

0 Varies - see notes 0

This will comprise:

A portfolio of practical work delivered as a completed sound design for a given short film and a research folder


ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of a sound designer

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in sound design

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in sound design

LO1, LO2, LO3

REFERENCE MATERIAL Altman, R. (1992). Sound Theory, Sound Practice. AFI Film Reader. Routledge. Beck, J & Grajeda, T. (2008). Lowering The Boom: Critical Studies In Film Sound. University Of Illinois Press Chion, M. (1994). Audio-Vision Sound On Screen. Columbia University Press. Chion, M. (1999). The Voice In Cinema. Columbia University Press Chion, M. (2009). Film: A Sound Art. Columbia University Press Everest, F A. (2005). Critical Listening Skills For Audio Professionals. (2nd Ed), Course Technology Inc. Farnell, A. (2010). Designing Sound. MIT Press Holman, T. (2002). Sound For Film And Television. (2nd Ed), Focal Press Izhaki, R. (2007). Mixing Audio: Concepts, Practices And Tools. Focal Press Lo Brutto, V. (1994). Sound On Film: Interviews With Creators Of Film Sound. Praeger Purcell, J. (2007). Dialogue Editing For Motion Pictures: A Guide To The Invisible Art. Focal Press Rose, J. (2008). Audio Post Production For Film And Video. Focal Press

Sonnenschien, D (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Weise Productions Talbot-Smith, M. (1995). Sound Engineers Pocket Book. Focal Press Viers, R. (2008). The Sound Effects Bible: How To Create And Record Hollywood Style Sound Effects. Michael Weise Productions Weis, E & Belton, J. (1985). Film Sound: Theory And Practice. Columbia University Press Yewdall, D L. (2011) The Practical Art Of Motion Picture Sound (4th Ed), Focal Press Periodicals: The New Soundtrack The Soundtrack Audio Media Internet References: www.filmsound.org www.designingsound.com www.mixonline.com www.aes.org www.ips.org.uk

UNIT TITLE Editing Unit Code FFIP5019 Location Farnham Level 5 Duration 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Course which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore editing and visual storytelling in depth and to challenge your preconceptions of the role. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, which will cover creative, organisational and procedural aspects of post production, compositing and post-production routes as well as fiction, experimental and documentary practices, alongside independent study. Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself.

AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of editing and


beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of editing and its relationship to moving image

practice LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:





Activity type % of




0 Coursework 100

Report 0 Coursework




0 Coursework

Oral assessment and presentation 0 Practical


0 Practical



This will comprise:

A portfolio of practical work including either a 5 minute edited film to a given brief OR a 3 - 5 minute film based on a 5 line poem and related research folder.


ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of an editor

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in editing

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in editing

LO1, LO2, LO3

REFERENCE MATERIAL Books: Clark, J. (2011). Dream Repairman, Adventures in Film Editing. LandMarc Press Crittenden, R. (1981), The Thames And Hudson Manual Of Film Editing, Thames And Hudson Crittenden, R. (2006), Fine Cuts: The Art Of European Film Editing, Focal Press Dancyger, K. (2010), The Technique Of Film And Video Editing: History, Theory And Practice, Focal Press Megrath, D. (2001), Editing And Post Production, Screen Craft, Rotovision Murch, W. (2001), In The Blink Of An Eye, Silman James Press Oldham, G. (1995), First Cut: Conversations With Film Editors, University Of California Press

Ondaatje, M. (2002), The Conversations – Walter Murch And The Art Of Film Editing, Random House Reisz, K & Millar, G. (2009), The Technique Of Film Editing, (2nd Ed), London, Focal Press Periodicals: Cinemontage Internet References: www.thefilmeditor.com www.editorsguild.com www.avid.com www.gbfte.org

UNIT TITLE Screenwriting Unit Code FFIP5010 Location Farnham Level 5 Duration 12 weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit provides an opportunity for you to develop your practice and understanding of screenwriting, particularly in respect of narrative structure. Issues around what constitutes story in the context of screen work are explored, partly by consideration of a variety of short and feature-length films, but primarily through a series of writing assignments designed to explore aspects of structure. You will be encouraged to explore different ways of generating story ideas, and to work collaboratively as you develop these ideas to screenplay stage. Assignments will be presented in the workshops and you will be required to respond to the work of your peers in a constructive feedback process. In the process you have the opportunity to develop ideas for short films with the potential to become final-year projects. Emphasis is placed on building skills in the development of story ideas through creative dialogue. In the process you are expected to gain an understanding of the various stages required to grow a project from initial impulse through successive drafts to a screenplay sufficiently realised to form a platform for production.

(Within this unit it is also an option for you to have a report of your experience of a self-generated work-placement considered as part of your assessment.) AIMS The aims of this unit are: A1 To further develop your skills in originating and developing ideas, and in realising

those ideas in a professional screenplay form A2 To encourage you to embrace the process of story and screenplay development

through creative dialogue and redrafting A3 To encourage you to explore collaborative working in the writing process, and to

further develop your skills at giving, receiving and responding to feedback A4 To provide an opportunity for you to develop ideas for short films with the potential

to achieve future production (possibly as final-year projects) A5 To encourage a range of approaches both to ideas and their development, further

developing your understanding of film as a form, particularly in relation to fiction-making

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Develop original story ideas for the screen LO2 Understand the process of originating, developing and presenting a screenplay,

formatted in accordance with professional conventions, and capable of providing the basis for a film production

LO3 Understand how to collaborate in this process, both by working with others in the

writing itself, and by engaging effectively in the process of giving and receiving feedback

LO4 Demonstrate, through practice, a thorough understanding of the formal implications

of writing for the screen, particularly in relation to short films LO5 Understand the basic issues around film structure and storytelling, particularly in

relation to the conventions (and variants) of narrative form, as explored in the discussion of screened examples

TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:

No. of hours of scheduled activity 64 No. of hours of independent activity 106 No. of hours of placement activity 30

This will comprise: Practical Workshops, lectures, independent study and research Optional self-directed placement, if agreed with unit leader




Activity type % of




Coursework

100

Report Coursework




Coursework



Practical

Set exercise (including critiques) Varies - see notes This will comprise: A portfolio assessment consisting of Participation in the seminars and writing workshops A completed screenplay for 12-15 minute film with synopsis A revision of a workshop assignment An outline breakdown of the story structure of one of the feature films screened with analysis of one scene or sequence (approximately 1,000 words) or a report on a self-generated work-placement A 500 word self-assessment reflecting on the writing process ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Awareness of the principal approaches to screenwriting and screen storytelling

LO1, LO2, LO5

Origination and development of screen stories

LO1, LO2, LO3, LO4, LO5

Understanding of the formal implications of film as a medium, particularly in relation to issues of narrative scale and structure Engagement in processes of creative revision leading to screenwriting of professional standard Development and presentation of a project through a fully-realised screenplay and synopsis

LO1, LO2, LO3, LO4

REFERENCE MATERIAL Essential Gulino, P. J. (2004) Screenwriting: The Sequence Approach. New York: Continuum Kallas, Christina. (2010). Creative Screenwriting: Understanding Emotional Structure. Palgrave Macmillan. Mackendrick, A. (2004) On Film-making. London: Faber McKee, R. (1999) Story: Substance, Structure, Style and the Principles of Screenwriting. London: Methuen Scott, K. C. ed. (2005) Screenwriters’ Masterclass. London: Faber Vogler, C. (2007) The Writer’s Journey: Mythic structure for writers. Third edition. Michael Wiese Productions. California. Recommended Aristotle. (1996) Poetics. London: Penguin Aronson, L. (2001) Screenwriting Updated. Los Angeles: Silman-James Press Elbow, P. (1998) Writing with Power. New York: Oxford Goldberg, N. (1986) Writing Down the Bones. Boston: Shambhala Dancyger, K. and Rush, J. (2002) Alternative Scriptwriting. Boston: Focal Press Mamet, D. (1991) On Directing Film. New York: Penguin Potter, C. (2001) Screen Language: From Film Writing to Film-making. London: Methuen Tarkovsky, A. (2005) Sculpting in Time. Austin: University of Texas

UNIT TITLE Cross Media Unit Code FFIP5020 Location Farnham Level 5 Duration 12 weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore current platforms for filmmaking including the web and to challenge your preconceptions. The challenge of this optional unit is to consider filmmaking in other arenas besides the single screen format. Web design and content management, multiskilling and designing and developing multi-platform concepts will be considered in the context of new forms of digital distribution. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, as well as independent study. Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of film practices

on the internet A2 Prepare you for projects you may wish to develop during Stage 3 and beyond A3 Provide you with the opportunity to undertake a short placement LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of film practices on the internet and other digital

media LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list

TEACHING & LEARNING METHODS If you choose to undertake a placement in this unit, the indicative hours will be as follows:





Activity type % of




100

Report 0 Coursework




0 Coursework


0 Practical


0 Practical



This will comprise: An online portfolio of work to a given brief with accompanying research folder and

critical evaluation. And a 1000 word critically evaluative report on a work placement can be submitted

in place of one part of the above in negotiation with the unit tutor.

ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of cross LO1

platform working and other digital media Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in creating cross media projects

LO2

Give evidence of independent research LO3 REFERENCE MATERIAL Essential Books: De Jong, Wilma, Rothwell, Jerry and Knudsen, Erik. (2011) Creative Documentary Theory and Practice. Harlow: Pearson Education Ltd. Henry, Jenkins. (2006). Convergence Culture, Where Old and New Media Collide. New York University Press) Gillmor, Dan (2010). Mediactive. Creative Commons Nuno, Bernardo. (2011) The Producers Guide to Transmedia: How to Develop, Fund, Produce and Distribute Compelling Stories Across Multiple Platforms. CR Entertainment Ltd; 1st edition. Tryon, Chuck. (2009).Reinventing Cinema, Movies in the Age of Media Convergence. Rutgers University Press Quesenbery, Whitney. (2010) Storytelling for User Experience. Rosenfeld Media; 1st edition edition Internet References: http://powertothepixel.com/ Power to the Pixel http://www.4docs.org.uk/ 4docs http://creativecommons.org/licenses/ Creative commons Licenses http://rhizome.org/ Rhizome http://mubi.com/ Mubi http://henryjenkins.org/2010/03/transmedia_generation.html

Transmedia Generation

UNIT TITLE Producing Unit Code FFIP5012 Location Farnham Level 5 Duration 12 Weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit affords you the opportunity to explore producing and visual storytelling in depth and to challenge your preconceptions of the role. You will be asked to further your knowledge and technical ability through a series of practical exercises, workshops, and lectures, which will cover the work of the production team, script analysis, budgets, scheduling, legal aspects, funding and finance, as well as the role of the creative producer in both drama and documentary projects, alongside independent study. Students will also be encouraged to see their work in a professional context, possibly taking the opportunity to write up experience of a work placement, alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your depth and breadth of knowledge and understanding of producing and


beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of producing and its relationship to moving image

practice LO2 Demonstrate your technical skills and knowledge LO3 Show evidence of research using recommended reading list TEACHING & LEARNING METHODS

If you choose to undertake a placement in this unit, the indicative hours will be as follows:





Activity type % of




0 Coursework

100

Report 0 Coursework




0 Coursework


0 Practical


Practical



This will comprise:

A portfolio comprising a Documentary Production Folder OR a Film Production Folder to a given brief. These should include Budgets, Schedules, Call Sheets, Cash Flow. Legal Information, Script Breakdowns, Treatments and Overall Schedules, as well as any other further items detailed in the brief (a 1500 word critically evaluative report on a work placement can be submitted in place of one part of the above, by negotiation with the unit tutor) (100%)

ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate your knowledge of the role and responsibilities of a producer

LO1, LO2, LO3

Complete research and analysis of a professional practitioner in producing

LO1, LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in production

LO1, LO2, LO3

REFERENCE MATERIAL Books: Davies, Adam P and Wiestrich, Nic. (2007). UK Film Finance Handbook : how to fund your film. London: Netribution. de Winter, Helen. (2006). What I Really Want to Do is Produce. London: Faber and Faber

Durie, John, Pham, Annika, Watson Neil. (1999). Marketing and Selling Your Film Around the World: A Guide for Independent Filmmakers. Silman-James Press,U.S

Erickson, Gunner, Tulchin, Harris, Halloran, Mark (2010). The Independent Film Producer's Survival Guide: A business and Legal Sourcebook. Schirmer

Finney, Angus. (2010). The International Film Business Routledge Levison, Louise. (2012). Filmmakers and Financing: Business Plans for Independents. 7th ed. London: Focal Press.

Patz, Deborah S. (2010). Film Production Management 101: Management and Coordination in a Digital Age. Michael Weise

Rea, Peter and Irving, David (2010) Producing and Directing The Short Film And Video. 4th edition Focal Press Ryan, Maureen. (2010). Producer to Producer: A Step by Step guide to Low Budget Independent Film Producing. Michael Weise. Smartt, Ursula. (2011). Media and Entertainment Law. Routledge Stradling, Linda. (2010). Production Management for Film and TV: The Professional’s Guide. Methuen. Vachon, Christine. (2006). A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Simon and Schuster Worthington, Charlotte. (2009). Producing: Basics of Filmmaking. AVA Publishing Periodicals: The Hollywood Reporter

http://www.hollywoodreporter.com/

MovieMaker

http://www.moviemaker.com/

Screen International

http://subs.screendaily.com/ScreenInternational/

Variety

https://www.variety.com/

Broadcast

http://info.broadcastnow.co.uk/

Internet References:

http://industry.bfi.org.uk/

http://creativeskillset.org/creative_industries/film/job_roles

http://www.creativeengland.co.uk

http://filmlondon.org.uk/funding_and_talent

http://filmlondon.org.uk/business_and_training

http://www.producersguild.org

http://www.producertoproducer.com/

https://shootingpeople.org/account/auth.php

http://www.bafta.org/

http://www.bectu.org.uk

http://www.equity.org.uk

http://www.pact.co.uk/home/

http://www.pma.org.uk/

http://www.bbc.co.uk/filmnetwork/filmmaking/guide/production/legal-guide-production-agreements

UNIT TITLE VFX Unit Code FFIP5027 Location Farnham Level 5 Duration (number of weeks) 12 weeks Credit Value 20 credits Total Learning Hours for Unit 200 Date of approval of this version

CONTENT Filmmaking is now no longer a matter of working with what happens in front of the camera. Work in Visual Effects is now of central importance to filmmaking from high end feature films to commercials, idents and promos. VFX is no longer the icing or gloss on a film or television production it is often integral to both story and style. This unit is designed to give you the opportunity to explore the world of VFX and to challenge your preconceptions of the role. You will be asked to develop your knowledge and technical abilities in this area through a series of practical exercises, workshops and lectures which will cover the world and the business of VFX and its role in contemporary filmmaking. You will be encouraged to see your work in a professional context, possibly taking the opportunity to write up experience of a work placement alongside the development of a critical and analytical eye of the craft itself. AIMS The aims of this unit are: A1 Extend your knowledge of the role of VFX in contemporary filmmaking A2 Prepare you for the specialist role that you may wish to undertake during Stage 3 and

beyond. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of VFX and its relationship to moving image practice. LO2 Demonstrate your technical skills and knowledge of VFX

LO3 Show evidence of research using the recommended reading list. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity7 64 No. of hours of independent activity 136 No. of hours of placement activity This will comprise: Practical workshops, lectures, independent study and research.




Weigh-ting (%)


Where the component comprises more than one assessment task


double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where

applicable Set Exercise (not under exam conditions)

100% Portfolio of technical exercises and presentation of research into a particular method or process of VFX, practitioner or VFX company.

PLEASE SELECT8 Set Exercise (not exam conditions)





Written


Report Coursework




77 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH 8 Manually type the correct selection from the list available on double clicking in the box


100% Coursework



Practical


Assessment Category Total % for Unit Written Coursework 100% Practical


CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Demonstrate your knowledge of the role of VFX in contemporary film making

LO1

Complete research and analysis of practitioner, method or process or VFX company

LO3

Demonstrate your knowledge of the methods, processes and equipment required in the application of technical skills in VFX

LO2

REFERENCE MATERIAL9 Essential Brinkman, R. (2008) The Art and Science of Digital Compositing: Techniques for Visual Effects, Animation and Motion Graphics. Morgan Kaufmann Christiansen, M (2013) Adobe After Effects CC Visual Effects and Compositing Studio Techniques Adobe

Dewis, G (2015) The Photoshop Workbook: Professional Retouching and Compositing Tips, Tricks, and Techniques Peachpit Press

Foster, J. (2014) The Green Screen Handbook: Real-World Production Techniques Focal Press

Malley, B. (2014) Adobe Master Class: Advanced Compositing in Photoshop: Bringing the Impossible to Reality with Bret Malley, Adobe

9 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

Wright, S. (2010) Digital Compositing for Film and Video. Focal Press Zwerman, S., Okun, J.A, (2010) The VES Handbook of Visual Effects. Focal Press Recommended

UNIT TITLE Film History and Theory 2 (Incoming Study Abroad Option Term 1)

Unit Code FFIP5021 Location Farnham Level 5 Duration 12 weeks Credit Value 10 Total Learning Hours for Unit 100 Courses which feature this unit BA(Hons) Film Production DATE FIRST APPROVED DATE OF THIS VERSION 06/02/2012

CONTENT This unit is designed to enable students attending UCA as part of the Exchange Programme to engage with the historical and theoretical aspect of the course. They will be awarded credit in order to translate this to their home institution’s award. The lecture programme complements your practice units by providing an historical overview of some of the various codes and conventions, drawn from documentary and dramatic realism, with which reality is represented in film and television. You will explore and evaluate a range of theoretical and interpretative approaches used to analyse the production and consumption of documentary and drama documentary texts. You will examine the interface between representations of reality and their possible fictionalisations and be encouraged to evaluate film and television texts as documents and as instruments of persuasion located within diverse socio-political contexts. You will develop your academic research and study skills in an English context. The content of the unit is delivered through lectures, seminars, workshops and screenings and requires you to engage in independent study and research to complete one written assessment task. The Exchange element can be taken in term 1 AIMS The aims of this unit are: A1 to explore in a historical context some of the documentary and dramatic codes and

conventions of realism used by film and television texts when representing reality

A2 to introduce and evaluate a range of theoretical and interpretative approaches used to analyse the production and consumption of documentary and dramadocumentary texts.

A3 to develop a range of appropriate academic research and study skills

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 articulate the relationship between historical context and some of the documentary and

dramatic codes and conventions of realism used by film and television texts when representing reality

LO2 identify and evaluate a range of theoretical and interpretative approaches and use them

to analyse the production and consumption of documentary and dramadocumentary texts

LO3 accurately and effectively use more advanced academic research and study skills TEACHING & LEARNING METHODS

No. of hours of scheduled activity 60 No. of hours of independent activity 40 No. of hours of placement activity 0 This will comprise: compulsory lectures, seminars, workshops, screenings and independent study and research


Activity type % of




100 Coursework

100

Report Coursework




Coursework



Practical

Set exercise (including critiques) Varies - see notes This will comprise:

a 1000 word essay on a given film viewed in the lecture series

ASSESSMENT CRITERIA

CRITERION MAPS TO LEARNING OUTCOME Demonstrate knowledge of the relationship between a particular historical context and some of the documentary and dramatic codes and conventions of realism used by film and television texts when representing reality

LO 1

Identify and understand a range of theoretical and interpretative approaches and use them to analyse the production and consumption of documentary and drama documentary texts.

LO 2


LO 3

REFERENCE MATERIAL Essential Aitken, Ian (ed.). (1998). The Documentary Film Movement. Edinburgh: Edinburgh University Press. Benson, Thomas W and Anderson, Carolyn. (2002). Reality Fictions. The Films of Frederick Wiseman. 2nd edition. Illinois: Southern Illinois University Press. Cowie, Elizabeth. (2011). Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota Press. Earnshaw, Steven. (2010). Beginning Realism. Manchester: Manchester University Press Ellis, John. (2011). Documentary : witness and self-revelation. London :Routledge. Gaines, Jane, and Renov, Michael. (eds.). (1999). Collecting Visible Evidence. Minnesota: University of Minnesota Press. Hight, Craig and Roscoe, Jane. (2001). Faking It: Mock-Documentary and the Subversion of Factuality. Manchester: Manchester University Press. Nichols, Bill. (1992). Representing Reality. Indiana: Indiana University Press. Rosenthal, Alan (ed.). (1999). Why docudrama? Fact-fiction on film and TV. Carbondale: Southern Illinois Press. Winston, Brian. (Ed). (2013). The Documentary Film Book. London:BFI

Recommended Aitken, Ian. (2000). Alberto Cavalcanti: Realism, Surrealism and National Cinemas. Trowbridge: Flick Books. Bruzzi, Stella. (2006). New Documentary: A Critical Introduction. 2nd edition. London: Routledge. Hill, Annette. (2007). Restyling Factual TV. London and New York: Routlege. Cotterell, Stella. (2008). The Study Skills Handbook. London: Palgrave, Macmillan Jerslev, Anne (ed.). (2002). Realism and 'reality' in film and media. Copenhagen: Museum Tusculanum Press. King, Geoff. (2005). The spectacle of the real: from Hollywood to 'reality' TV and beyond. Bristol: Intellect. Paget, Derek. (1998). No Other Way to Tell It, Dramadoc/docudrama on television. Manchester: Manchester University Press. Winston, Brian. (2000). Lies, Damn Lies and Documentaries. London: BFI.

UNIT TITLE Film History and Theory 2 (Incoming Study Abroad and returning students Option Term 2 and 3)

Unit Code FFIP5023 Location Farnham Level 5 Duration 17 weeks Credit Value 20 Total Learning Hours for Unit 200 Courses which feature this unit BA(Hons) Film Production


CONTENT This unit is designed to enable students attending UCA as part of the Exchange Programme to engage with the historical and theoretical aspect of the course. They will be awarded credit in order to translate this to their home institution’s award. Students returning from Study Abroad (taken in term one) will be able to gain the credits necessary to progress.

The lecture programme complements your practice units by providing an historical overview of some of the various codes and conventions, drawn from documentary and dramatic realism, with which reality is represented in film and television. You will explore and evaluate a range of theoretical and interpretative approaches used to analyse the production and consumption of documentary and drama documentary texts. You will examine the interface between representations of reality and their possible fictionalisations and be encouraged to evaluate film and television texts as documents and as instruments of persuasion located within diverse socio-political contexts. You will develop your academic research and study skills in an English context. The content of the unit is delivered through lectures, seminars, workshops and screenings and requires you to engage in independent study and research to complete one written assessment task. The Exchange element can be taken in terms 2 and 3 AIMS The aims of this unit are: A1 to explore in a historical context some of the documentary and dramatic codes and

conventions of realism used by film and television texts when representing reality A2 to introduce and evaluate a range of theoretical and interpretative approaches used


A3 to explore the interface between representations of reality and their possible

fictionalisations using a range of examples A4 to study film and television texts as documents and as instruments of persuasion

located within diverse socio-political contexts A5 to further develop a range of appropriate academic research and study skills LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 articulate the relationship between historical context and some of the documentary

and dramatic codes and conventions of realism used by film and television texts when representing reality

LO2 identify and evaluate a range of theoretical and interpretative approaches and use them


LO3 analyse the interface between representations of reality and their possible

fictionalisations using appropriately identified examples LO4 evaluate film and television texts as documents and as instruments of persuasion

located within diverse socio-political contexts

LO5 accurately and effectively use more advanced academic research and study skills TEACHING & LEARNING METHODS

No. of hours of scheduled activity 60 No. of hours of independent activity 140 No. of hours of placement activity 0 This will comprise: compulsory lectures, seminars, workshops, screenings and independent study and research


Activity type % of




100 Coursework

100

Report Coursework




Coursework


Practical


Practical

Set exercise (including critiques) Varies - see notes This will comprise:

a 3000 word essay on a given topic relating to the lecture series ASSESSMENT CRITERIA CRITERION MAPS TO LEARNING OUTCOME Demonstrate knowledge of the relationship between a particular historical context and some of the documentary and dramatic codes and conventions of realism used by film and television texts when representing reality

LO 1

Identify and understand a range of theoretical and interpretative approaches and use them to analyse the production and consumption of documentary and drama documentary texts.

LO 2

Articulate knowledge and understanding of the interface between representations of reality and their possible fictionalisations using appropriately identified examples

LO 3

Apply relevant theoretical approaches to analyse film and television texts as documents and as instruments of persuasion located within diverse socio-political contexts

LO 4


LO 5

REFERENCE MATERIAL Essential Aitken, Ian (ed.). (1998). The Documentary Film Movement. Edinburgh: Edinburgh University Press. Benson, Thomas W and Anderson, Carolyn. (2002). Reality Fictions. The Films of Frederick Wiseman. 2nd edition. Illinois: Southern Illinois University Press. Cowie, Elizabeth. (2011). Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota Press. Earnshaw, Steven. (2010). Beginning Realism. Manchester: Manchester University Press Ellis, John. (2011). Documentary : witness and self-revelation. London :Routledge. Gaines, Jane, and Renov, Michael. (eds.). (1999). Collecting Visible Evidence. Minnesota: University of Minnesota Press. Hight, Craig and Roscoe, Jane. (2001). Faking It: Mock-Documentary and the Subversion of Factuality. Manchester: Manchester University Press. Nichols, Bill. (1992). Representing Reality. Indiana: Indiana University Press. Rosenthal, Alan (ed.). (1999). Why docudrama? Fact-fiction on film and TV. Carbondale: Southern Illinois Press. Winston, Brian. (Ed). (2013). The Documentary Film Book. London:BFI Recommended Aitken, Ian. (2000). Alberto Cavalcanti: Realism, Surrealism and National Cinemas. Trowbridge: Flick Books. Bruzzi, Stella. (2006). New Documentary: A Critical Introduction. 2nd edition. London: Routledge. Hill, Annette. (2007). Restyling Factual TV. London and New York: Routlege.

Cotterell, Stella. (2008). The Study Skills Handbook. London: Palgrave, Macmillan Jerslev, Anne (ed.). (2002). Realism and 'reality' in film and media. Copenhagen: Museum Tusculanum Press. King, Geoff. (2005). The spectacle of the real: from Hollywood to 'reality' TV and beyond. Bristol: Intellect. Paget, Derek. (1998). No Other Way to Tell It, Dramadoc/docudrama on television. Manchester: Manchester University Press. Winston, Brian. (2000). Lies, Damn Lies and Documentaries. London: BFI.

unit title fact into fiction unit code ffip5024 location ...webdocs.ucreative.ac.uk/film production...

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