Ashby, J. & Higson, A. (2000) British Cinema, past and present, Routledge ISBN-13: 978-0415220620
Baillieu, B. & Goodchild, J. (2002) The British Film Business, Wiley & sons ISBN-13: 978-0471499183
Dancyger, Ken,(1997) The Technique of Film & Video Editing, Focal Press, ISBN-13: 978-0240807652
Grove, E. (2004) Raindance producer?s lab, lo-to-no budget filmmaking, Focal Press
Holmann, T. ISBN-13: 978-0240516998
Huber D, Runstein R, (2005) Modern Recording Techniques, Focal Press ISBN-13: 978-0240806259
Jones C & Jolliffe G (2006), Geurilla Film Makers Handbook, 2003 4th ed., Continuum International Publishing Group ISBN-13: 978-0826479884
Leigh, Jacob (2002) The Cinema of Ken Loach, Art in the service of the People, Wallflower Press. ISBN-13: 978-1903364321
Murphy, R. ed. (2001) The British Cinema Book, British Film Institute ISBN-13: 978-0851708515
Rumsy and McCormick (2005), Sound and Recording, 5th edition, Focal Press ISBN-13: 978-0240519968
Thompson, R (1998) The Grammar of the Shot, Focal Press ISBN-13: 978-0240513980

Thompson, Roy (1993) The Grammar of the Edit, Focal Press ISBN-13: 978-0240513409
Watson, Gary. (2004) The Cinema of Mike Leigh, A Sense of the Real, Wallflower Press. ISBN-13: 978-1904764106

Canon XL1/2 and Panasonic HD/Mini DV Cameras and support equipment.
Digital location audio recording equipment and microphones.
Jib, tracking and Steadicam equipment
Portable lights.
Final Cut Pro and Soundtrack Pro software.
Word processing facilities
Finishing room audiovisual software and facilities.

None

Throughout this module it will be fundamental to show how advanced technological understanding of film production equipment, enhances the generation and communication of meaningful audiovisual content. You will independently research British filmmakers, the UK/International film industry, film theory and concept development.

In small groups you will generate a technically competent group portfolio for a short digital film that includes storyboards, production plans and a comprehensive budget breakdown based on industry standards. The film should demonstrate theoretical and technical understanding and the application of advanced HD film technology techniques

Throughout the semester the film should be critically revised and refined with re-shooting and reediting where necessary. The film soundtrack must be designed to a sophisticated level and include diegetic and non-diegetic sound and surround sound techniques. The end product should be prepared to a professional standard and ready to submit to national and international film festivals. This information will be communicated and analysed in a class presentation that includes a viewing of the short digital film and sound design production. It will also be necessary to submit a festival proposal and group production portfolio that summaries theoretical and technical findings and how these influenced your filmic techniques.

Independent self managed study and research are important aspects that will continue throughout the module. The information gathered should contextualise your theoretical understanding of your films content in conjunction with the use of advanced film technology equipment and techniques.

50% Practical - Production of an original 10 minute audio-visual work: assessing learning outcomes 1 and 4.
50% Course work - 2 x Portfolio and 1 Presentation - assessing learning outcomes 2 and 3.

Lectures and laboratory sessions
Learning on all aspects of the module will be facilitated by lectures, tutorials and student centred learning.
Practical assignments using production and post production facilities and equipment will support the learning.