unit title production roles unit code ffip5033 level 5...

Quality Assurance Handbook 2015/16 of 20

UNIT TITLE Production Roles Unit Code FFIP5033 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version September 2020

CONTENT

This unit will allow you to consider the different roles on a film production and choose one to investigate further through a series of workshops and small project work.

The areas available for you to choose from may include: Screenwriting, Producing, Directing, Cinematography, Editing, Sound, Production Design and Visual Effects.

Through embedding professional process within the teaching you will be introduced to the opportunities available in filmmaking. The workshops relating to your chosen subject will develop on from the workshops in the first year, and prepare you for any future work in your chosen area that you may undertake

AIMS

The aims of this unit are:

A1 To extend your depth and breadth of knowledge and understanding of specialist roles in film production

A2 To further develop your research and presentation skills.

A3 To deepen your understanding of one specialist role and to prepare you for any future work in this area

LEARNING OUTCOMES

On satisfactory completion of the unit you will be able to:

LO1 Demonstrate an understanding of your chosen specialist role and its relationship to moving image practice.

LO2 Effectively present your research in relation to a specialist area of film production.

LO3 Demonstrate your skills in one area of film production

Course(s) to which this unit contributes


INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 100 No. of hours of independent activity 200 No. of hours of placement activity

This will comprise:

• Lectures • Screenings • Workshops and practical exercises to given briefs • Presentations to peers on the work of a practitioner in your chosen area/scene analysis

ASSESSMENT REQUIREMENTS

Table A1- Assessment Components

Assessment Component

List all separate

components

Weighting (%)

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% Workshop exercises Portfolio

5 minute presentation on a practitioner or scene analysis

Table A2 –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 of Table A2 data

1 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH


Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

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

MAPS TO LEARNING OUTCOME

Technical and applied skills in chosen specialist area LO3

Understanding through application of research into a specialist area and presentation skills

LO2

Knowledge of a specialist area of film production LO1

Recommended

Screenwriting:

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. Producing:

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

Ryan, Maureen (2010) Producer to Producer: A Step by Step Guide to Low Budget Independent Film Producing. Michael Weise.

Worthington, Charlotte (2009) Producing: Basics of Filmmaking. AVA Publishing.

Directing:

Potter, S. (2014) Naked Cinema: Working with Actors. London: Faber and Faber.

Rabiger, M. (2007) Directing: Film Techniques and Aesthetics. (4th Ed.) Oxford: Focal Press.

Weston, J. (2008) The Film Directors Intuition: Script Analysis and Rehearsal Techniques. Michael Wiese Productions.

Cinematography:

2 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

READING LISTS2


Brown, B. (2011) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. (2nd Ed.) Focal Press.

Landau, David (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image. London: Bloomsbury.

Malkiewicz, Kris & Mullen, M. David (2005) Cinematography: The Classic Guide to Filmmaking, Revised and Updated for the 21st Century. (3rd Revised Ed.) Simon & Schuster Ltd.

Sound:

Altman, R. (1992) Sound Theory, Sound Practice. AFI Film Reader. Routledge. Chion,

M. (2009) Film: A Sound Art. Columbia University Press.

Viers, R. (2008) The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Michael Weise Productions.

Production Design:

Ettedgui, P. (2000) Screencraft: Production Design and Art Direction. Rotavision. Lo

Brutto, V. (2002) The Filmmakers Guide to Production Design. Allworth Press.

Preston, W. (1994) What an Art Director Does: An Introduction to Motion Picture Production Design. Silman- James Press.

Editing:

Clark, J. (2011) Dream Repairman, Adventures in Film Editing. LandMarc Press.

Murch, W. (2001) In the Blink of An Eye. Silman James Press.

Reisz, K. & Millar, G. (2009) The Technique of Film Editing. (2nd Ed.) London: Focal Press. VFX:

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.

Wright, S. (2010) Digital Compositing for Film and Video. Focal Press.


UNIT TITLE Screen Studies 2 Unit Code FFIP5029 Location Farnham Level 5 Duration (number of weeks) 15 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version September 2020

CONTENT

This unit provides a cultural, critical, theoretical and historical overview of the ways in which selected filmmakers from a variety of international contexts have responded to real-life events. A selection of fiction and non-fiction moving image texts that take real-life events as their starting points will be explored and a range of relevant theoretical and interpretative approaches will be employed to analyse their production and consumption.

You will further develop your academic research and study skills. The content of the unit is delivered through lectures, screenings, seminars, and tutorials and also requires you to engage in independent study and research to complete an illustrated, written assessment task.

AIMS


A1 To enable the exploration and understanding of specific contexts of production and consumption of moving image texts that use real-life events as their starting points

A2 To identify and employ appropriate research approaches in support of an analysis of moving texts that use

real-life events as their starting points

A3 To enable you to create a cohesive and appropriately illustrated research project, supported by relevant evidence that conforms to academic conventions.

LEARNING OUTCOMES


LO1 Demonstrate through exploration an understanding of specific contexts of production and consumption of moving image texts that use real-life events as their starting points

LO2 Demonstrate ability to identify and employ appropriate research approaches in support of an analysis of

moving texts that use real-life events as their starting points

LO3 Creation of a coherent and appropriately illustrated research project, supported by relevant evidence, that conforms to academic conventions.




No. of hours of scheduled activity 40 No. of hours of independent activity 260 No. of hours of placement activity 0

This will comprise:

• Lectures • Screenings • Seminars • Tutorials • Independent study




List all separate

components

Weighting (%)



assessment task




Word Count Approx. word count where

applicable

Written assignment, including essay

100% Written assignment Written assignment, including essay

4000



Written exam Written Set exercise (under exam conditions but not testing practical skills) Written Written assignment, including essay 100% Coursework Report Coursework Dissertation Coursework Portfolio 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


Assessment Category Total % for Unit Written Coursework 100%


Practical




Demonstration of understanding through exploration of specific contexts of production and consumption of moving image texts

LO1

Identification and employment of appropriate research approaches in support of an analysis of moving texts

LO2

Creation a coherent and appropriately illustrated research project, supported by relevant evidence, that conforms to academic conventions

LO3

Essential

Aitken, Ian (Ed.) (1998) The Documentary Film Movement. Edinburgh: Edinburgh University Press.

Bruzzi, Stella (2006) New Documentary: A Critical Introduction. (2nd Ed.) London: Routledge.

Cowie, Elizabeth (2011) Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota 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.

Piotrowska, Agnieszka. (2014). Psychoanalysis and Ethics in Documentary Film. UK: Routledge.

Winston, Brian (Ed.) (2013) The Documentary Film Book. London: BFI.

Recommended

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.


READING LISTS3


Rosenthal, Alan (Ed.) (1999) Why Docudrama? Fact-fiction on Film and TV. Carbondale: Southern Illinois Press.

Swimmer, Jeff (2015) Documentary Case Studies Behind the Scenes of the Greatest (True) Stories Ever Told. London: Bloomsbury.

Winston, Brian (2000) Lies, Damn Lies and Documentaries. London: BFI.


UNIT TITLE Short Film Production Unit Code FFIP5034 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version January 2021

CONTENT

This unit will provide you with the opportunity to take on responsibility for a crew role in the production of a short fiction film to a negotiated brief.

You will be required to take on a crew role whilst making a fiction production and 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 to engage with professional levels of onset protocols and project management and to demonstrate this through a folder of research and critical reflection activities

AIMS


A1 To further develop technical knowledge, skills and understanding of fiction production/post production processes and practices

A2 To further develop understanding of and skills in crew roles and responsibilities in fiction film production

A3 To further develop creative and productive work processes in a group situation and through independent study.

LEARNING OUTCOMES


LO1 Engage in the research, development and production of a short film.

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

LO3 Work productively and creatively in a group situation and independently


No. of hours of scheduled activity 130 No. of hours of independent activity 170 No. of hours of placement activity 0

This will comprise:






List all separate

components

Weighting (%)



assessment task




Word Count Approx.

word count where

applicable

Film 60% A short fiction film derived from negotiated brief (group)

Project Output (other than a dissertation)

Guide length 5-7 mins

Supporting Portfolio & Reflection

40% A collection of evidence documenting the specific specialised contribution to the film and its production (individual).

Portfolio

A critical reflection on the cinematic influences for the film, the production process and the individual contribution to the final project (Individual element) These components are weighted equally

Guide length, 1500 words

• Lectures • Workshops • Group tutorials • Progress reviews • Rushes screenings • Group production and evaluation



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 40% Coursework Project output (other than dissertation) 60% 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


Assessment Category Total % for Unit

Written Coursework 100% Practical




The completed film shows the appropriate application of technical skills to realise the potential in the brief

LO1

The documentation of the production process demonstrates a knowledge of the required allocation of specialist roles

LO2

The critical reflection indicates a professional approach to team working and a capacity to identify areas for personal development Understanding through application of team working and research

LO3

Essential

Brown, Blain (2016) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. (3rd Ed.) Abingdon: Routledge

Brown, Blain (2007) Motion Picture and Video Lighting. (2nd Ed.) Focal Press.

Dancyger, Ken (2010) The Technique of Film and Video Editing: History, Theory, and Practice. (5th Ed.) Focal Press.


READING LISTS4


Figgis, M. (2014) Digital Film-making. (revised edition) London: Faber. Holman,

Tomlinson (2010) Sound for Film and Television. (3rd Ed.) Focal Press. Katz, Steven

(1991) Film Directing Shot by Shot. Michael Weise Productions.

Katz, Steven (2004) Film Directing: Cinematic Motion: A Workshop for Staging Scenes. (2nd Revised Ed.) Michael Wiese Productions.

Landau,David. (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image. London: Bloomsbury

LoBrutto, Vincent (2002) The Filmmaker's Guide to Production Design. U.S: Allworth Press.

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. (2nd Ed.) Focal Press.

Recommended

Cristiano, Giuseppe. (2012). The Storyboard Artist: A Guide to Freelancing in Film, TV and Advertising. Michael Wiese

Halligan, Fionnuala. (2012). FilmCraft: Production Design.Lewes: Ilex

Murch, Walter. (2001) In the Blink of an Eye: A Perspective on Film Editing, Silman-James Press, U.S. 2nd Revised edition.

Rabiger, Michael (2013) Directing: Film Techniques and Aesthetics. (5th Ed.) Oxford: Focal Press.

Reisz, Karel and Millar, Gavin (2009) Technique of Film Editing. (Re-issue of 2nd Ed.) Oxford: Focal 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. Shorter,

Georgina (2012). Designing for Screen: Production Design and Art Direction Explained. Marlborough: Crowood Press.

Sonnenschein, David (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City CA: Michael Wiese Productions.

Weston, Judith (1999) Directing Actors: Creating Memorable Performances for Film and Television. Studio City CA: Michael Wiese Productions.


UNIT TITLE Creative Documentary Unit Code FFIP5031 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version July 2020

CONTENT

This unit examines story telling within the documentary form, and encourages you to undertake a documentary journey that reveals unexpected realities. Through the development of your own practice, you will gain confidence in understanding the stories and kinds of story-telling that are appropriate to documentary filmmaking.

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 extraordinary times we live in through unexpected, imaginative, humane, diverse and thought-provoking film-making. Working individually or in a small group you will research and produce a documentary project to a given brief, developing your production practices and storytelling techniques including a variety ofcamera,editing and idea development workshops.

As an individual you will keep an 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. We expect this to include notes on tutorial outcomes and completion of a skills diagnostic and an evaluation of your final film.

AIMS


A1 To further develop your understanding of documentary forms and issues.

A2 To further develop your documentary research and production skills.

A3 To encourage you to engage with unfamiliar subjects and territory.

LEARNING OUTCOMES

On satisfactory completion of the unit, you will be able to:

LO1 Research and identify the kind of story and/or character with potential for a documentary subject and have learned to overcome the various obstacles when filming real life.

LO2 Develop a documentary project based on research

LO3 Demonstrate skills and knowledge in the production and shaping of a documentary.




No. of hours of scheduled activity5 120 No. of hours of independent activity 180 No. of hours of placement activity 0

This will comprise:

• Lectures • Screenings • Workshops • Tutorials • Production of a documentary project




List all separate

components

Weighting (%)



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 completed documentary project to a given brief

Portfolio

Evidence of personal research and reflection and contribution to the project through an online blog


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


Assessment Category Total % for Unit Written Coursework 100% Practical




Expand knowledge and understanding through research into a documentary subject.

LO2

Further develop technical and applied skills, such as creative problem solving, to realise a documentary project.

LO1

Understanding individual practice through critically reflecting and evaluating the project work.

LO3

Essential

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.

Papazian, Elizabeth and Eades, Caroline. Eds. (2016). The Essay Film. Dialogue, Politics, Utopia. London: Wallflower Press


READING LISTS6


Rabiger, Michael (2015) Directing the Documentary. (6th Edition) Oxford: Focal Press.

Recommended

Ellis, J. (2012) Documentary: Witness and Self-revelation. Abingdon: Routledge.

Hall, Stuart, Evans, Jessica and Nixon, Sean (2013) Representation – Cultural Representations and Signifying Practices. UK: Sage. Nichols, B. (1991) Representing Reality. Bloomington: Indiana University Press.

Nichols, B. (2010) Introduction to Documentary. (2nd Ed.) Bloomington and Indianapolis: Indiana UP.

Piotrowska, Agnieszka (2014) Psychoanalysis and Ethics in Documentary Film. UK: Routledge.



UNIT TITLE Contextual Film Studies (Incoming Study Abroad and returning students Option Term 2 and 3)

Unit Code FFIP5032 Location Farnham 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 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 1) will be able to gain the credits necessary to progress.

This unit provides a cultural, critical, theoretical and historical overview of the ways in which selected filmmakers from a variety of international contexts have responded to real-life events. A selection of fiction and non-fiction moving image texts that take real-life events as their starting points will be explored and a range of relevant theoretical and interpretative approaches will be employed to analyse their production and consumption.

You will further develop your academic research and study skills. The content of the unit is delivered through lectures, screenings, seminars, and tutorials and also requires you to engage in independent study and research to complete an illustrated, written assessment task.

AIMS


A1 To enable the exploration and understanding of specific contexts of production and consumption of moving image texts that use real-life events as their starting points

A2 To identify and employ appropriate research approaches in support of an analysis of moving texts that use

real-life events as their starting points

A3 To enable you to create a cohesive and appropriately illustrated research project, supported by relevant evidence that conforms to academic conventions.

LEARNING OUTCOMES


LO1 Demonstrate through exploration an understanding of specific contexts of production and consumption of moving image texts that use real-life events as their starting points


LO2 Demonstrate ability to identify and employ appropriate research approaches in support of an analysis of moving texts that use real-life events as their starting points

LO3 Creation of a coherent and appropriately illustrated research project, supported by relevant evidence, that

conforms to academic conventions.


No. of hours of scheduled activity7 35 No. of hours of independent activity 265 No. of hours of placement activity

This will comprise:

Lectures, screenings, seminars, tutorials, independent study.



Assessment Component List

all separate components

Weigh- ting (%)



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

Written assignment including essay

100% Written assignment Written assignment including essay

4000



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

Written

Written assignment, including essay 100% Coursework Report Coursework Dissertation Coursework Portfolio 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


Assessment Category Total % for Unit Written Coursework 100 Practical




Demonstration of understanding through exploration of specific contexts of production and consumption of moving image texts

LO1

Identification and employment of appropriate research approaches in support of an analysis of moving texts

LO2

Creation a coherent and appropriately illustrated research project, supported by relevant evidence, that conforms to academic conventions

LO3

Essential

Aitken, Ian (Ed.) (1998) The Documentary Film Movement. Edinburgh: Edinburgh University Press.

Bruzzi, Stella (2006) New Documentary: A Critical Introduction. (2nd Ed.) London: Routledge.

Cowie, Elizabeth (2011) Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota 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.


READING LISTS8


Piotrowska, Agnieszka. (2014). Psychoanalysis and Ethics in Documentary Film. UK: Routledge.

Winston, Brian (Ed.) (2013) The Documentary Film Book. London: BFI.

Recommended

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.

Rosenthal, Alan (Ed.) (1999) Why Docudrama? Fact-fiction on Film and TV. Carbondale: Southern Illinois Press.


Winston, Brian (2000) Lies, Damn Lies and Documentaries. London: BFI.


UNIT TITLE Study Abroad Exchange

Generic Unit Code XXXX5060

Location Overseas

Level 5

Duration (number of weeks) As indicated in LEARNING AGREEMENT

Credit Value 60 UK credits (30 ECTS)

Total Learning Hours for Unit 600

Date of approval of this version Academic Board – June 2019

Note: Taken as part of the Study Abroad Exchange Scheme and assessed on a pass/fail basis

CONTENT This unit is undertaken as part of Study Abroad Exchange during Level 5. The purpose of the unit is to enable students to engage with overseas study. Students follow an agreed schedule of learning at the host institution, as articulated in their LEARNING AGREEMENT. AIMS The aims of this unit are: A1 To enable overseas study. A2 To promote personal development within an international study context. A3 To communicate overseas study experience to a diverse audience. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Manage the process of securing overseas study. LO2 Negotiate and implement a LEARNING AGREEMENT for overseas study. LO3 Embrace a broader overseas cultural context to optimise integration and support study. L04 Reflect critically on overseas study and effectively communicate its value.



No. of hours of scheduled activity Dependent on host institution

No. of hours of independent activity Dependent on host institution

No. of hours of study activity 600

This will comprise:

• Overseas study in line with LEARNING AGREEMENT

• Preparation of reflective journal on the experience of studying overseas




Weight (%)

Typical Indicative Assessment tasks Assessment Type

Word Count (where applicable)

Reflective journal

20

Either:

Oral presentation with accompanying slides/notes

OR

Written or multimedia journal of studies identifying personal and academic development over the period of studies (challenges, development and resolution)

Practical

n/a

Portfolio 80 Transcript of marks from host institution identifying learning outcomes related to the agreed LEARNING AGREEMENT

OR

Portfolio of work demonstrating engagement with learning as required in the LEARNING AGREEMENT

Portfolio n/a




Written exam Written

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

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 80 Coursework

Project output (other than dissertation) Coursework

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

Oral assessment and presentation 20 Practical

Practical skills assessment (including production of an artefact) Practical

Set exercise testing practical skills Practical


CRITERION MAPS TO LEARNING OUTCOME

Knowledge of:

overseas study opportunity

LO1

the operational and cultural requirements of an overseas study environment

LO2, LO3, LO4

Understanding through:

effective participation in an overseas study environment

LO2, LO3, LO4

evaluation and communication of overseas study experience to a diverse audience

LO4

Technical and Applied Skills through:

project work within the overseas study environment

LO2, LO3


READING LISTS

Essential

Go International (n.d.) Pre-departure guide. Available from: http://go.international.ac.uk/going-abroad/pre-departure-guide-students UCA Study Abroad (n.d.) International Year- Available from: http://www.uca.ac.uk/study-abroad/outbound-students/international-year/

Recommended

British Council (n.d.) Study Work Create. Available from: https://www.britishcouncil.org/study-work-create

Global Graduates (n.d.) Study and work abroad: Advice, answers and opportunities for young people with global skills. Available from: https://globalgraduates.com/

Go International (n.d.) Pre-departure guide. Available from: http://go.international.ac.uk/going-abroad/pre-departure-guide-students

Additional texts may be listed within the LEARNING AGREEMENT, recommended by the Department of International Studies (UCA) or required by the host institution.

http://go.international.ac.uk/going-abroad/pre-departure-guide-students


http://www.uca.ac.uk/study-abroad/outbound-students/international-year/

http://www.uca.ac.uk/study-abroad/outbound-students/international-year/

https://www.britishcouncil.org/study-work-create

https://globalgraduates.com/



unit title production roles unit code ffip5033 level 5...

Documents