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Film Production (BCI) - TFT00028I

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  • Department: Theatre, Film, Television and Interactive Media
  • Module co-ordinator: Dr. Edward Braman
  • Credit value: 20 credits
  • Credit level: I
  • Academic year of delivery: 2024-25
    • See module specification for other years: 2022-23

Module summary

This optional module will give students a producer and developer's eye-view on the film production process. Students will develop a short film project - fiction of documentary - from idea to script or treatment and then work up a production plan which will take you to the point of principal photography. In the process students will acquire key camera, sound recording, location and casting skills and will shoot a short group film to consolidate their initial shooting and production knowledge. In some cases, schedule and equipment depending, students will have the opportunity to complete their own short film - as developed in this module - during the summer term

Related modules

Pre-requisite modules

  • None

Co-requisite modules

  • None

Prohibited combinations


Module will run

Occurrence Teaching period
A Semester 1 2024-25

Module aims

This module aims to:

Provide you with an inter-disciplinary structure in which you can explore the development and key pre-shoot production stages of the film creation process

Equip you with initial skills in camera, sound and key production office processes, like  locations and casting

Acquaint you with script or documentary development processes in line with practical issues of realisation and production.o provide 

Explore the relation of production processes and aesthetic goals to particular forms of output. 

Module learning outcomes

At the end of this module students will be able to 

Demonstrate an understanding of the roles and responsibilities of crew members and their position within the overall film production framework

Develop, refine and present film program concepts in both written and, potentially, visual form.

Analyse story and script requirements to develop an effective production strategy

Prepare for and manage film preproduction including script development, budgeting, scheduling and procurement of required elements for filming.

Demonstrate the initial skills to use camera and sound to realise your production goals

Module content

Identifying suitable stories for film; developing the story concept; presenting the story concept and pitching; refining story and creating script

Assessment

Task Length % of module mark
Essay/coursework
Preproduction portfolio
N/A 30
Essay/coursework
Screenplay
N/A 70

Special assessment rules

None

Additional assessment information

Students receive regular feedback in Autumn term on informal development exercises (e.g., creating a concept outline, presenting a pitch of a story idea, creating a draft treatment, etc.) as part of timetabled seminar sessions. There is also a formative group shooting exercise in which the entire cohort receives both staff and peer formative feedback

Reassessment

Task Length % of module mark
Essay/coursework
Preproduction portfolio
N/A 30
Essay/coursework
Screenplay
N/A 70

Module feedback

Students will receive in-person feedback for the first draft screenplay/rich treatment exercise in time-tabled sessions with tutors.  Feedback on assessment wiil be within four weeks as per university guidelines

Indicative reading

  • Quinn, E & Counihan, J ‘The Pitch’ Faber and Faber, 2006, ISBN: 0-571-227414
  • Katz, Steven, ‘Film Directing Shot by Shot’ Michael Wiese Productions, 1991, ISBN 0-941188-10-8
  • Proferes, N ‘Film Directing Fundamentals’, 3rd edition, Focal Press, 2008, ISBN 0-240-809408
  • Wyatt, H and Amyes, T ‘Audio Post Production for Television and Film: An introduction to technology and techniques’, Focal Press, 2003, ISBN 0-240-51947-7
  • Yewdall, D.L., ‘Practical Art of Motion Picture Sound’ Focal Press, 2003, ISBN 0-240-80525-9

For screenwriting:

  • Bordwell, D. (2004) The Way Hollywood Tells It: Story and Style in Modern Movies. London and Berkeley, CA: University of California Press.
  • Thompson, K. (2003) Storytelling in Film and Television. Cambridge, MA and London: Harvard University Press.
  • Tierno, M. (2002) Aristotles Poetics for Screenwriters: Storytelling Secrets from the Greatest Mind in Western Civilization: Hyperion.
  • McKee, R. (1999) Story: Substance, Structure, Style and the Principles of Screenwriting. London: Methuen.
  • Howard, D. & Mabley, E. (1995) The Tools of Screenwriting: A Writer's Guide to the Craft and Elements of a Screenplay, St. Martins Griffin.
  • Moran, A. and Malbon, J. (2006) Understanding the Global TV Format. Bristol: Intellect Books.
  • Thornham, S. and Purvis, T. (2005) Television Drama: Theories and Identities. Basingstoke: Palgrave MacMillan.
  • Maras, S. (2009) Screenwriting: history, theory and practice. London: Wallflower.
  • Seger, L. (1990) Creating Unforgettable Characters, Owl Books, Henry Hold & Company.
  • Field, S. (2003) The Definitive Guide to Screenwriting. London: Ebury.
  • Field, S. (1998) Four Screenplays: Studies in the American Screenplay. Bantam Doubleday Dell Publishing Group.
  • Snyder, B. (2005) Save the Cat: The Last Book on Screenwriting You ll Ever Need, McNaughton & Gunn, Michigan.
  • Argentini, P. (1998) Elements of Style for Screenwriters: the Essential Manual for Writers of Screenplays. Lone Eagle Publishing

 



The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.