Timothy Corrigan A Short Guide to writing about Film, (2nd ed), Harper Collins College Publishers, 1994
Gill Branston and Roy Stafford The Media Students Handbook, Routledge, 1996
David Bordwell and Kristin Thompson Film Art, an introduction, Addison-Wesley, Publishing Company, 1979
Daniel Arijon Grammar of the Film Language, Focal Press, 1975
Leslie Halliwell Film Guide, Paladin books, 1979
Gerald Mast and Marshal Cohen Film Theory and Criticism, Oxford University Press, 1975
Scott MacDonnald A Critical Cinema, University of California Press, 1992
Christian Metz Film Language: a semiotics of the cinema, OUP, 1974
Michael O'Pray Avant-Garde film: forms, themes and passions, Wallflower, 2003
Chris Williams (ed) Realism and the Cinema, R.K.P, 1980
Peter Wollen Signs and Meaning in the Cinema, Secker and Warburg, 1972
www.imdb.com The Internet Movie Database ? unbeatable site for general research on films and starting point for further websites
www.bfi.co.uk British Film institute site
en.wikipedia.org/wiki/Feature_film
www.cinequest.org
www.blinkBox.com
guardian.co.uk/film

Film Theatre screening time; projection facilities and powerpoint/IT support.
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

This module is based around weekly screenings of short/feature films from the drama, non-fiction, advertising and experimental areas, followed by group discussion and analysis. Each screening will have a different focus and be introduced with a short lecture. Independent reading/research and experimentation of ideas will develop a body of work based on the initial screenings.

The films will focus the students on the importance of `stepping outside of a comfort zone' and `lateral thinking' for creative concept generation; the lecture will pinpoint a specific focal point for each screening and the independent learning will develop the students ability to think and produce creative ideas.

The technical exercises will cover sound recording of voice/musical sounds/effects on location and studio and follow the post production Protools tutorials to practice the use of the post production edit suites working on project/file management, use of FX, track laying, cross fades, perspective, mono/stereo use, special effect, distortion, capturing and exporting.

COURSEWORK - weighted at 100%.
You will participate in weekly debates following screenings of historical and contemporary films and present a body of work (Personal visual notebook; film treatments; project proposals file) as preparation of film ideas for Level 3. Final assessment will be via a powerpoint presentation of the ideas produced.

This module explores the importance of lateral thinking and `stepping outside ones comfort zone' as a means of personal development; this is achieved via screening films' students would not normally view and discussing the concept; context and ideas generation. The ability to understand and develop a range of ideas from a variety of sources and influences is crucial to a developing film maker. This module aims to develop the students ability to produce a range of film ideas from a `film analysis and review' starting point.

The module will study a range of films on a weekly basis - short and feature - from the areas of drama, non-fiction, advertising and experimental film production. Each screening will focus on a variety of forms and functions within the film, encouraging thought, opinions and debate whilst highlighting specific creative ideas. Students will produce a range of `initial concepts' from each screening which they will develop into a series of project proposals aimed at Level 3 productions. (evidenced via a personal visual note book; treatments; short scripts; project proposals)