Film Pre-Production Project: Ideas, Scripts and Casts

Please note

This document only provides information for the academic year selected and does not form part of the student contract

School:

School of Arts and Humanities

Credit Rating:

Level (including FHEQ):

I (FHEQ Level 5)

Graded or Non Graded:

Graded

Version Valid From:

2023-01-01

Module Leader:

Ben Young

Version Number

2022.01

Learning Methods

Lecture

Supervised Time in Studio/Workshop

Guided Independent Study

Seminar

Requirements

Recommended Prior Study

Synopsis

This module explores the practices and roles in film development, guiding students through the process of developing and moving through the pre-production process in screen drama and film production from idea to pitch, treatment and taster. The module brings together students studying film making, screenwriting and performance for screen as … For more content click the Read More button below.

This module explores the practices and roles in film development, guiding students through the process of developing and moving through the pre-production process in screen drama and film production from idea to pitch, treatment and taster. The module brings together students studying film making, screenwriting and performance for screen as students learn roles and practices in creative collaboration in preproduction. Completed pre-production projects form the basis on final year (FHEQ Level 6) film making group production projects.

Learning Strategy

Module will be co-delivered by staff in Media, Journalism and Film, English, and Drama and Performance to reflect the interconnection of screen writing, directing, development production, casting and acting in film preproduction. Students on Film Making and Performance for Screen programmes will be given the opportunity to co-learn and collaborate with H level screenwriting students in exploring the interfacing of different pre-production roles and practices. Group and role selection will be overseen by the module leader and supervisor, with students on 360 and 480 degree pathways able to join groups with students on the same pathway only. Students will learn through a combination of lectures, supervised and independent guided study, as well as peer learning in the group project development setting. Students will be given supervised access to production sites and facilities including film studio space and editing suites and use will be made of C&IT resources, including the University’s VLE, to provide students with learning resources but also to increase their abilities to select and access materials on the internet, in text databases and in a virtual learning environment.

Outline Syllabus

The module builds skills in collaborative creative practice through a combination of lectures, supervision and studio access in support of pre-production group projects. Reflecting their programme of study, students take on tasks in preproduction processes associated with development producers and producers (Film Making), screenwriters (Screenwriting), casting directors and assistants (Performance … For more content click the Read More button below. The module critically examines the contexts and practices of pre-production including script selection and development, including financing, budgeting, script selection, script development, casting, and pitch, treatment and taster tape production. Initial stages of group constitution are tutor guided and exiting and student created scripts are made available to groups for development.

The module critically examines the contexts and practices of pre-production including script selection and development, including financing, budgeting, script selection, script development, casting, and pitch, treatment and taster tape production. Initial stages of group constitution are tutor guided and exiting and student created scripts are made available to groups for development.

Formative Assessment

Assessment 1: Project work

Summative Assessment

Assessment 1: Project Work

Assessment 2: Oral Assessment

Assessment Criteria

The module will be graded in line with University regulations. The assessment criteria will be those used by the Media, Journalism and Film subject area, designed in accordance with the appropriate Benchmark document, and promulgated to students in module handbooks and on written work feedback sheets.

My Reading

Reading List

http://library.hud.ac.uk/my/AIC2425

Ackland-Snow, T, & Laybourn, W. (2017) The Art of Illusion: Production Design for Film and Television, The Crowood Press, Ramsbury

Avarese, J. (2017) Post Sound Design: The Art and Craft of Audio Post Production for the Moving Image, Bloomsbury Academic, New York, USA

Barnwell, J. (2017) Production Design for Screen, Bloomsbury Visual Arts, New York, USA

Bergery, B. (2002) Reflections: Twenty-One Cinematographers at Work ASC Press, Los Angeles, USA

Bode, L. (2017) Making Believe: Screen Performance and Special Effects in Popular Cinema, Rutgers University Press, New York, USA

Bordwell, D., Thompson, K. and Smith, J. (2017) Film art: an introduction, New York, NY: McGraw-Hill Education.

Brown, B. (2016) Cinematography: Theory and Practice – Image Making for Cinematographers, Directors, and Videographers, 3rd ed., Focal Press, Oxford

Cleve, B (2017) Film Production Management: How to Budget, Organise, and Successfully Shoot Your FIlm, 4th ed., Focal Press, Oxford

Crittenden, R. (2018) Fine Cuts: Interviews on the Practice of European Film Editing, Focal Press, Oxford.

Dancyger, K. (2019) The Technique of Film and Video Editing: History, Theory, and Practice, 6th ed., Focal Press, Oxford

Dinur, E. (2017) The Filmmaker’s Guide to Visual Effects: The Art and Techniques of VFX for Directors, Producers, Editors, and Cinematographers, Focal Press, Oxford

Evans, R. (2006). Practical DV Filmmaking. New York: Routledge,

Fischer, L. (2015) Art Direction and Production Design: A Modern History of Filmmaking, 2nd ed., I B Tauris, London

Frierson, M. (2018) Film and Video Editing Theory: How Editing Creates Meaning, Focal Press, Oxford

Gilje, Ø. (2011). Working in tandem with editing tools: iterative meaning-making in filmmaking practices. Visual Communication, 10(1), 45–62

Goodridge, M, & Grierson, T. (2012) FilmCraft: Cinematography, Ilex Press, Lewes

Grove, E. (2014). Raindance Producers' Lab Lo-To-No Budget Filmmaking. New York: Routledge.

Keating, P (Ed). (2015) Cinematography: A Modern History of Filmmaking (Behind the Silver Screen), I B Tauris, London

Landry, P. (2017) Scheduling and Budgeting Your Film: A Panic Free Guide, 2nd ed., Focal Press, Oxford

McIver, G. (2016) Art History for Filmmakers, Fairchild Books, New York, USA

Miles, D. (2014) Location Audio Simplified: Capturing Your Audio… and Your Audience, Focal Press, Oxford

North, D, Rehak B, & Duffy, M. (2015) Special Effects: New Histories, Theories, Contexts, BFI, London

Ohanian, T.A. and Phillips, M.E. (2011) Digital Filmmaking: The Changing Art and Craft of Making Motion Pictures, Second Edition. Focal Press: Burlington, MA.

Pasquariello, N. (2013) Sounds of Movies: Interviews with the Creators of Feature Sound Tracks, Port Bridge Books, Providence, USA

Proferes, N. (2017) Film Directing Fundamentals: See Your Film Before Shooting, 4th ed., Focal Press, Oxford

Rabiger, M. (2013) Directing Film Techniques and Aesthetics,5th ed., Routledge, London

Rogers, H, & Barham, J (Eds). (2017) The Music and Sound of Experimental Film, Oxford University Press, Oxford

Seger, L. (2019). The Collaborative Art of Filmmaking. London: Routledge.

Stump, D. (2014) Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows, Focal Press, Oxford

Tomaric, J.J. (20110 Filmmaking : direct your movie from script to screen using proven Hollywood techniques, Burlington, MA : Focal Press.

Weston, J. (1999) Directing Actors, Michael Wiese Productions, Studio City, USA

Woodbridge, P. (2013) Designer Drafting and Visualizing for the Entertainment World, 2nd ed., Focal Press, Oxford

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