PORTFOLIO (50%)
Learning Outcomes 1-4, 6.
This may include: a research folder, study group film analysis, presentation, transcript of a presentation text, a complete individual short film script, evaluation report.

2ND PORTFOLIO (50%)
Learning Outcomes 2-6.
This may include: an adaptation proposal, an adapted screenplay, a pre-production folder, evaluative reports of the process. Final piece.

A module designed to develop students' understanding of film grammar and visual storytelling. By the end of the course students should have a greater degree of appreciation of the visual elements of cinema and their sources in both the visual arts and literature; a greater understanding of how the techniques for efficient visual communication in cinema have developed from the early days of silent film up to the present day, as well as a greater command of writing effective and economical cinematic visuals in screenplay form. Work in Semester 1 provides the basis for the work of the second semester: an introduction to the realities of pre-production, from the finding of source material, through cinematic adaptation of literary work, to the actual preparatory work undertaken by the various creative personnel on a film before filming begins.

Library Resources. Silent films & Screenplays available on internet.

The Blackboard virtual learning environment will be available to support this module. Details will be supplied in the module handbook.

Block, B. (2007) The Visual Story, Oxford: Focal.
Glebas, F. (2008) Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation, London: Focal Press.
Halligan, F. (2012) Filmcraft: Production Design, Lewes: Ilex.
Murch, W. (2001) In The Blink of an Eye, Los Angeles, Calif.: Silman-James.
Rabiger, M. and Hurbis-Cherrier, M. (2013) Directing: Film Techniques and Aesthetics, Oxon: Focal.
Stam, R. (2005) Literature and Film: A Guide to the Theory and Practice of Film Adaptation, Oxford: Blackwell.
Taylor, R. ed. (2005) The Eisenstein Collection: Sergei Eisenstein, Calcutta: Seagull.

Please see the module handbook for a full listing of reading texts.

1. CRITICALLY ANALYSE A RANGE OF SILENT FILMS TO DETERMINE HOW THEY COMMUNICATE KEY MESSAGES AND MEANINGS. CONTRAST THE EFFECTS OF DIFFERENT STYLISTIC APPROACHES.
[Analysis]

2. EMPLOY A RANGE OF WRITTEN COMMUNICATION METHODS AND STYLES APPROPRIATE TO A DISCIPLINE.
[Communication]

3. NEGOTIATE AND PLAN A BRIEF FOR A PROJECT. DEVISE A STRATEGY THAT ANTICIPATES THE MOST LIKELY PROBLEMS IN ADVANCE. DEMONSTRATE THE ABILITY TO SOLVE COMPLEX PROBLEMS WITH SUPERVISION.
[Problem Solving; Collaborative Working]

4. RECOGNISE THE COMMON CODES AND CONVENTIONS THROUGH WHICH AUDIENCES UNDERSTAND INTENDED MEANINGS.
[Knowledge and Understanding]

5. CRITICALLY REVIEW THE CREATIVE AND PROFESSIONAL PRACTICES OF SELECTED CRAFT TRADES IN THE FILM INDUSTRY AND DESCRIBE THE TECHNOLOGIES AND SKILLS THEY EMPLOY. DISCUSS RELEVANT ETHICAL AND REGULATORY ISSUES THAT MAY ARISE IN THE TRANSFER OF A SCRIPT TO THE SCREEN. [Enquiry]

6. REVIEW PERSONAL SKILLS, ATTRIBUTES AND INTELLECTUAL DEVELOPMENT TO PREPARE FOR CAREER APPLICATIONS.
[Reflection]

UPDATE HOURS ONLY

This module is designed to develop your understanding of film grammar and visual storytelling and your ability to develop and present creative pre-production work such as that routinely produced in the film and television industries, including proposals, scripts, storyboards, design work, etc. By the end of the course you should have a greater appreciation for the visual elements of cinema and their sources in both the visual arts and literature; a greater understanding of how the techniques for efficient visual communication in cinema have developed from the early days of silent film up to the present day, as well as a greater command of writing effective and economical cinematic visuals in screenplay form. Work in Semester 1 provides the basis for the work of the second semester: an introduction to the realities of pre-production, from the finding of source material, through cinematic adaptation of literary work, to the actual preparatory work undertaken by the various creative personnel on a film before filming begins.