2022/3, Trimester 1, Face-to-Face, Edinburgh Napier University
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| Occurrence: | 001 |
| Primary mode of delivery: | Face-to-Face |
| Location of delivery: | MERCHISTON |
| Partner: | Edinburgh Napier University |
| Member of staff responsible for delivering module: | James Mavor |
| Module Organiser: | |
| Learning, Teaching and Assessment (LTA) Approach: |
A series of team and individual supervisions and tutorials with specialist tutors will support you in your planning of your short film (LO 1-3, 5 ). These supervisions will help you rationalise the use of, and produce, workflows, budgets, schedules, pre-visualisations, casting, locations and design choices.Supervision will continue either remotely or through location visits during the process of shooting. This will help you put preproduction planning into effect : predicting, judging and executing data management, direction of performance, schedule management, people management, and the realisation of mise-en-scene. In these supervisions you will also begin to draw conclusions in your ongoing and and subsequent reflection (LO 4, 6)Embedding of employability/PDP/scholarship skillsEmphasis is placed on building well-developed skills to support your individual development as a film maker in your chosen discipline. In common with all students on the Kino Eyes European Movie Masters, you will have completed a Personal Development Plan in your first semester on the programme, based on personal critical research into current and emerging professional-level practices in your specialism. This will outline your professional, creative and critical goals for the programme and beyond. You will review this plan as part of your learning logs and critical studies throughout the two year programme. Employability skills developed: Autonomous and team working, working to deadlines, setting objectives, creativity, communicating, organising and planning, critical evaluation and reflective skills.This programme is part of a suite of complementary programmes running within Screen Academy Scotland. Students from all programmes are involved in common masterclasses and professional practice events. Cross-programme collaboration is also encouraged.Research/ teaching linkagesStaff and visiting lecturers throughout this programme are selected for their substantial industry experience, and this forms the basis for much of their teaching. Additionally, staff within the Screen Academy continue to develop and work on live projects and professional practice based research assignments, which will inform their approach to the teaching of the module.Supporting equality and diversityThe broad cultural scope of the module is designed to allow students from varying national and demographic backgrounds to develop their own unique voices. The philosophy of the programme in which the module is offered is that film is a universal cultural medium. Students will be encouraged to create work that responds to their diverse national traditions and sensibilities and in their own milieu and language. The cross fertilisation that results from this rich mix of nationalities collaborating together will create project work and a student experience that is highly original and international in its character.Internationalisation The Kino Eyes programme, of which this module is a part, has been designed as an international programme. Seventy-five per cent of students are expected to be from outside the EU. Students will therefore benefit from an international experience throughout, by virtue of the rich mix of nationalities expected from the cohort. If you are an international student, you will be given advice as to the support that is available to you in the University.The programme is delivered in campuses in three European states, and most students will get the opportunity to study in Edinburgh, Tallinn and Lisbon in the course of their time on the programme. Although the teaching of the programme as a whole will have a global emphasis, studying in the three different countries will enable students to immerse themselves in three distinctive national film cultures.
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You will, as a team, produce a short fiction film of around 15 minutes in length (LOs 1, 3, 4, 5). This should be submitted at rough cut stage.You will compile and submit a portfolio of work that comprehensively evidences the preparatory and production work you have done in your contribution to this film and any associated outputs (LO 1-3, 5). This portfolio will include, for instance, visual, factual and technical research, scripts, outlines, budgets, schedules, production paperwork, technical paperwork, workflow plans, storyboards, camera plans, recce materials, locations and casting materials, meeting notes, logistical emails and other communications and materials relating to the development of the film into a related feature package. This portfolio should also contain around 2,000 words of written reflection, (LO 4, 6). This will critically examine the creative, technical and logistical work you did on the project. It should address the project’s successes and failures as a whole and the learning that you have gained working on it.The portfolio is expected to be the size of a large lever arch or box file in size: 81 x 245 x 340mm.
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You will, as a team, produce a short fiction film of around 15 minutes in length (LOs 1, 3, 4, 5). This should be submitted at rough cut stage.You will compile and submit a portfolio of work that comprehensively evidences the preparatory and production work you have done in your contribution to this film and any associated outputs (LO 1-3, 5). This portfolio will include, for instance, visual, factual and technical research, scripts, outlines, budgets, schedules, production paperwork, technical paperwork, workflow plans, storyboards, camera plans, recce materials, locations and casting materials, meeting notes, logistical emails and other communications and materials relating to the development of the film into a related feature package. This portfolio should also contain around 2,000 words of written reflection, (LO 4, 6). This will critically examine the creative, technical and logistical work you did on the project. It should address the project’s successes and failures as a whole and the learning that you have gained working on it.The portfolio is expected to be the size of a large lever arch or box file in size: 81 x 245 x 340mm.
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| Student Activity (Notional Equivalent Study Hours (NESH)) |
| Mode of activity | Learning & Teaching Activity | NESH (Study Hours) |
| Face To Face | Tutorial | 12 |
| Face To Face | Seminar | 18 |
| Independent Learning | Guided independent study | 170 |
| Total Study Hours | 200 |
| Expected Total Study Hours for Module | 200 |
| Assessment |
| Type of Assessment | Weighting % | LOs covered | Week due | Length in Hours/Words |
| Project - Practical | 50 | 1-3 & 5 | 12 | HOURS= 0, WORDS= 0 |
| Portfolio | 50 | 4,6 | 12 | HOURS= 0, WORDS= 2000 |
| Component 1 subtotal: | 50 | |
| Component 2 subtotal: | 50 | | | |
| Module subtotal: | 100 | | | |