FI922-60 Synthesis: Industry and Independent (MAF Module 3)
Introductory description
The final module of the course allows for development and production of a major piece of film work.
Module aims
The aim of the module is to further develop students’ professional and aesthetic skills, on an individual and collaborative basis, to a point where they can successfully carry out a substantial piece of film work at a level informed by professional standards and reflect critically on the work and on its relation to film culture. Classes and exercises in the first part of the module provide an opportunity for each student to learn from working with filming requirements at a higher level: offering more choices in production design, editing, sound, cinematography with its relation to grading, and story and directing complexity.
The second part of the module aims to enable students to complete graduation film work that represents their best abilities in their chosen specialty and reflect on their work critically in its orientation to contemporary film thought and practice. The intention is that the students will be testing them-selves on an original project, the success of which requires aesthetic reach, originality, and a wide range of problem-solving skills, including professional technical skills, detailed real-world scheduling and budgeting, and the self- management and collaboration skills involved from all sides in the artistic co-ordination of the different professional practices required. Each student will bring an investment funded by the School to the projects and students are encouraged to raise outside funding. In the second half of the module, they can shoot anywhere safe in the world. This will be supported by classes in specialisation areas and career management.
Outline syllabus
This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.
Module 3 ultimately requires students to plan, prepare and execute a film of up to 30 minutes, using processes, kit and facilities appropriate to the challenges presented by the project.
The previous work of Module 2 is drawn on and developed to the higher level required by this term’s technology and students are expected to consider how these technological changes, particularly those associated with nonlinear post-production, affect production outcomes. Students are further expected to reflect on the relations between their work and that of other filmmakers addressing technical and strategic problems in the same way.
The second part of the module allows students to reflect on the first half and determine the format, equipment pattern and scheduling of their projects themselves. This contributes significantly to their understanding of the relations between the technology and the requirements of individual strategies, as well as adding practical depth to their understanding of the role and complexities of professional production.
Students are required to deal extensively with elements of the film world outside the school, and this also allows them to build relations personally with the industry and to consider their activities directly in the light of institutional structure and career possibilities. The teaching emphasis of the term follows this pattern, building on their work in the previous modules by making them think through their new skills and understanding in relation to the practicalities of a functioning film industry and the place of their own creative patterns in it.
Learning outcomes
By the end of the module, students should be able to:
- Students will be able to demonstrate their skills and understanding of contemporary practice in their chosen areas of filmmaking, by solving significant filmmaking challenges successfully.
- Students will be able to Initiate, develop and complete work of recognisable artistic and technical merit that contributes to an original film.
- Students will be able to critically evaluate their own abilities against professional standards and in the light of the relation of their own work to film culture and practice.
Indicative reading list
- Auiler, Dan. Hitchcock’s Notebooks: An Authorized and Illustrated Look inside the Creative Mind of Alfred Hitchcock. Spike, 1999.
- Bellantoni, Patti. If It’s Purple, Someone’s Gonna Die the Power of Color in Visual Storytelling. Else-vier/Focal Press, 2005.
- Bresson, Robert. Notes on Cinematography. Urizen Books: [Distributed by E.P. Dutton], 1977.
- Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Harvard University Press, 1981.
- Chion, Michel, and Claudia Gorbman. The voice in cinema. Columbia University Press, 1999.
- Crittenden, Roger. Fine Cuts: The Art of European Film Editing. Focal Press, 2006.
- Kirihara, Donald. Patterns of Time: Mizoguchi and the 1930s. University of Wisconsin Press, 1992.
- LoBrutto, Vincent. By Design: Interviews with Film Production Designers. Praeger, 1992.
- Lüdi, Heidi, Toni Lüdi, and Kathinka Schreiber. Movie Worlds: Production Design in Film = Das Szenenbild Im Film. Menges, 2000.
- Pearlman, Karen. Cutting Rhythms: Shaping the Film Edit. Focal Press/Elsevier, 2009.
- Rossellini, Roberto, and Adriano Aprà. My Method: Writings and Interviews. Marsilio Publishers, 1992.
- Sonnenschein, David. Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. Michael Wiese Productions, 2001.
- Vaughan, Dai. Portrait of an Invisible Man: The Working Life of Stewart McAllister, Film Editor. BFI, 1983.
- Weston, Judith. Directing Actors: Creating Memorable Performances for Film and Television. M. Wiese Productions, 1996.48
Subject specific skills
Location filming, Production Design, Cinematography, Sound and Sound Design, Editing, Directing, Creative Producing, Screenwriting, Budgeting, Scheduling, Financing, Distribution, Exhibition, Marketing, Production and Post-production Workflows, Auditioning, Directing Actors, Blocking, Photo-graphic Theory and Workflow
Transferable skills
Collaboration, Teamwork, Career Planning, Fundraising, Critical and Analytical Thinking, Research Skills, Oral and Written Communication
Study time
| Type | Required |
|---|---|
| Lectures | 13 sessions of 6 hours (13%) |
| Seminars | 5 sessions of 6 hours (5%) |
| Tutorials | 7 sessions of 1 hour (1%) |
| Practical classes | 33 sessions of 6 hours (33%) |
| Other activity | 30 hours (5%) |
| Private study | 257 hours (43%) |
| Total | 600 hours |
Private study description
Research and development of practical work, critical reflection in a professional context
Other activity description
Screenings of student work
Costs
No further costs have been identified for this module.
You must pass all assessment components to pass the module.
Assessment group A1
| Weighting | Study time | Eligible for self-certification | |
|---|---|---|---|
Assessment component |
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| Film Work | 50% | No | |
|
Film Work: one exercise and work in a principal role in at least one graduation film. Individual students are assessed on their work in specific roles, such as director, cinematographer etc… of defined film projects |
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Reassessment component is the same |
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Assessment component |
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| Work and Research Journal | 50% | No | |
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Reflective journal of the work and research undertaken in the course of completion of the practical work. This must be contextualised through a wider under-standing of professional global filmmaking culture and practice |
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Reassessment component is the same |
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Feedback on assessment
- Written feedback for Work and Research journal
- Written feedback on Film Work
- Tutorial for fails on Film Work or Work and Research Journal
In addition, students’ work in the planning stages is regularly reviewed with staff in all practical specialities. This continues at rushes sessions after shoots, with members of relevant departments giving feedback. In end of term showings work is reviewed speciality by speciality by active visiting professionals and active visiting professionals. Work and research journals are reviewed at scheduled meetings with personal tutors.
Pre-requisites
To take this module, you must have passed:
- FI921-60 MA Filmmaking Unit 2: Practice: Non-fiction and Fiction
Courses
This module is Core for:
- Year 1 of TFIV-P3P4 Postgraduate Taught Filmmaking
This module is Core optional for:
-
TFIV-P3P4 Postgraduate Taught Filmmaking
- Year 1 of P3P4 Filmmaking
- Year 2 of P3P4 Filmmaking