OverviewIntroduction to Filmmaking draws upon concepts in Film Studies to inform an introduction to moving image production that focuses on the exploration of cinematic language. Basic technical skills in DV production and post-production are taught along with craft skills applicable to both narrative and experimental screen production. Through a combination of lectures, screenings, creative and technical workshops, and peer reviews of work in progress, this module encourages experimentation, critical reflection, independent thought, and dialogue between theory and practice. Effective group work is integral to the success of student work on this module. Practical work is designed to trigger both conceptual and creative thinking as well as consideration of audience responses to cinematic language. The essay, a critical analysis of the finished film, is designed to encourage a dialogue between theory and practice.
This module appears in:
Total contact hours: 36
Private study hours: 264
Total study hours: 300
Students can take either FI308 OR FI309
Method of assessment
Essay (1500 words) (35%)
Creative Portfolio (60%).
Bordwell, D and Thompson, K: Film History: An Introduction (London: McGraw Hill, latest edition).
A.L Rees, A History of Experimental Film and Video (London: BFI, 1999).
On successfully completing the module students will be able to:
- have received an induction in the skills and techniques of shooting digitally and will have completed an introduction to DV non-linear editing;
- develop the aesthetic, conceptual and technical skills necessary to articulate their ideas audio-visually and in written form;
- conceive and plan a piece of creative work;
- demonstrate a safe and technically competent use of equipment;
- gain an understanding of the historical, social and cultural context of filmic visual practices.
- gain an understanding of their own creative processes through their engagement in one or more production practices;
- acquire skills and knowledge of aesthetic judgement;
- have an understanding of the ways in which different social groups may relate to and interact with filmic visual practices.