UNIT TITLE Screen Craft 2.1:Production Roles Unit Code FFIP5028 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version December 2016 CONTENT This unit will allow you to consider the different roles on a film production and choose one to specialise in through a series of workshops and small project work. The areas of specialism for you to choose from may include: Screenwriting, Producing, Directing, Cinematography, Editing, Sound, Production Design and Visual Effects. Lectures on careers in these specialist areas will introduce you to the opportunities available and workshops relating to your chosen specialism will develop on from the workshops in the first year. AIMS The aims of this unit are: A1 To extend your depth and breadth of knowledge and understanding of specialist roles in film

production A2 To further develop your research and presentation skills. A3 To deepen your understanding of one specialist role and to prepare you for your work in

Screen Craft 2.2 Short Film Production LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of your chosen specialist role and its relationship to moving

image practice. LO2 Effectively present your research in relation to a specialist area of film production. LO3 Demonstrate your skills in one area of film production

Quality Assurance Handbook 2015/16 Page 1 of 22

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity 80 No. of hours of independent activity

220

No. of hours of placement activity This will comprise:

• Lectures • Screenings • Workshops and practical exercises to given briefs • Presentations to peers on the work of a practitioner in your chosen area/scene analysis

ASSESSMENT REQUIREMENTS Table A1- Assessment Components Assessme

nt Compone

nt List all

separate componen

ts

Weighting

(%)

Typical Indicative Assessment tasks

Where the component comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in table

A2

Word Count

Approx. word count

where applicable

Portfolio 100% Workshop exercises

Portfolio

5 minute presentation on a practitioner or scene analysis

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Quality Assurance Handbook 2015/16 Page 2 of 22

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria

CRITERION

MAPS TO LEARNING OUTCOME

Technical and applied skills in chosen specialist area

LO3

Understanding through application of research into a specialist area and presentation skills

LO2

Knowledge of a specialist area of film production LO1 READING LISTS Recommended Screenwriting: Kallas, Christina (2010) Creative Screenwriting: Understanding Emotional Structure. Palgrave Macmillan. Mackendrick, A. (2004) On Film-making. London: Faber. McKee, R. (1999) Story: Substance, Structure, Style and the Principles of Screenwriting. London: Methuen. Producing: Erickson, Gunner, Tulchin, Harris and Halloran, Mark (2010) The Independent Film Producer's Survival Guide: A Business and Legal Sourcebook. Schirmer. Ryan, Maureen (2010) Producer to Producer: A Step by Step Guide to Low Budget Independent Film Producing. Michael Weise. Worthington, Charlotte (2009) Producing: Basics of Filmmaking. AVA Publishing.

Quality Assurance Handbook 2015/16 Page 3 of 22

Directing: Potter, S. (2014) Naked Cinema: Working with Actors. London: Faber and Faber. Rabiger, M. (2007) Directing: Film Techniques and Aesthetics. (4th Ed.) Oxford: Focal Press. Weston, J. (2008) The Film Directors Intuition: Script Analysis and Rehearsal Techniques. Michael Wiese Productions. Cinematography: Brown, B. (2011) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. (2nd Ed.) Focal Press. Landau, David (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image. London: Bloomsbury. Malkiewicz, Kris & Mullen, M. David (2005) Cinematography: The Classic Guide to Filmmaking, Revised and Updated for the 21st Century. (3rd Revised Ed.) Simon & Schuster Ltd. Sound: Altman, R. (1992) Sound Theory, Sound Practice. AFI Film Reader. Routledge. Chion, M. (2009) Film: A Sound Art. Columbia University Press. Viers, R. (2008) The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Michael Weise Productions. Production Design: Ettedgui, P. (2000) Screencraft: Production Design and Art Direction. Rotavision. Lo Brutto, V. (2002) The Filmmakers Guide to Production Design. Allworth Press. Preston, W. (1994) What an Art Director Does: An Introduction to Motion Picture Production Design. Silman-James Press. Editing: Clark, J. (2011) Dream Repairman, Adventures in Film Editing. LandMarc Press. Murch, W. (2001) In the Blink of An Eye. Silman James Press. Reisz, K. & Millar, G. (2009) The Technique of Film Editing. (2nd Ed.) London: Focal Press. VFX: Foster, J. (2014) The Green Screen Handbook: Real-World Production Techniques. Focal Press.

Quality Assurance Handbook 2015/16 Page 4 of 22

Malley, B. (2014) Adobe Master Class: Advanced Compositing in Photoshop: Bringing the Impossible to Reality with Bret Malley. Adobe. Wright, S. (2010) Digital Compositing for Film and Video. Focal Press.

Quality Assurance Handbook 2015/16 Page 5 of 22

UNIT TITLE Screen Studies 2 Unit Code FFIP5029 Location Farnham Level 5 Duration (number of weeks) 20 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version December 2016 CONTENT This unit provides a cultural, critical, theoretical and historical overview of the ways in which selected filmmakers from a variety of international contexts have responded to real-life events. A selection of fiction and non-fiction moving image texts that take real-life events as their starting points will be explored and a range of relevant theoretical and interpretative approaches will be employed to analyse their production and consumption. You will further develop your academic research and study skills. The content of the unit is delivered through lectures, screenings, seminars, and tutorials and also requires you to engage in independent study and research to complete an illustrated, written assessment task. AIMS The aims of this unit are: A1 To enable the exploration and understanding of specific contexts of production and

consumption of moving image texts that use real-life events as their starting points A2 To identify and employ appropriate research approaches in support of an analysis of moving

texts that use real-life events as their starting points A3 To enable you to create a cohesive and appropriately illustrated research project, supported

by relevant evidence that conforms to academic conventions. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate through exploration an understanding of specific contexts of production and

consumption of moving image texts that use real-life events as their starting points LO2 Demonstrate ability to identify and employ appropriate research approaches in support of an

analysis of moving texts that use real-life events as their starting points LO3 Creation of a coherent and appropriately illustrated research project, supported by relevant

evidence, that conforms to academic conventions.

Quality Assurance Handbook 2015/16 Page 6 of 22

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity 70 No. of hours of independent activity

230

No. of hours of placement activity 0 This will comprise:

• Lectures • Screenings • Seminars • Tutorials • Independent study

ASSESSMENT REQUIREMENTS Table A1- Assessment Components Assessme

nt Compone

nt List all

separate componen

ts

Weighting

(%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component double

click in the box to see options.

The options equate to the assessment types in table

A2

Word Count Approx.

word count where

applicable

Written assignment, including essay

100% Written assignment Written assignment, including essay

4000

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 100% Coursework

Report Coursework

Dissertation Coursework

Portfolio Coursework

Project output (other than dissertation) Coursework

Quality Assurance Handbook 2015/16 Page 7 of 22

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria

CRITERION

MAPS TO LEARNING OUTCOME

Demonstration of understanding through exploration of specific contexts of production and consumption of moving image texts

LO1

Identification and employment of appropriate research approaches in support of an analysis of moving texts

LO2

Creation a coherent and appropriately illustrated research project, supported by relevant evidence, that conforms to academic conventions

LO3

READING LISTS Essential Aitken, Ian (Ed.) (1998) The Documentary Film Movement. Edinburgh: Edinburgh University Press. Bruzzi, Stella (2006) New Documentary: A Critical Introduction. (2nd Ed.) London: Routledge. Cowie, Elizabeth (2011) Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota Press. Ellis, John (2011) Documentary: Witness and Self-Revelation. London: Routledge. Gaines, Jane and Renov, Michael (Eds.) (1999) Collecting Visible Evidence. Minnesota: University of Minnesota Press.

Quality Assurance Handbook 2015/16 Page 8 of 22

Hall, Stuart, Evans, Jessica and Nixon, Sean (2013) Representation – Cultural Representations and Signifying Practices. UK: Sage. Nichols, Bill (1992) Representing Reality. Indiana: Indiana University Press. Piotrowska, Agnieszka. (2014). Psychoanalysis and Ethics in Documentary Film. UK: Routledge. Winston, Brian (Ed.) (2013) The Documentary Film Book. London: BFI. Recommended Hill, Annette (2007) Restyling Factual TV. London and New York: Routlege. Jerslev, Anne (Ed.) (2002) Realism and 'Reality' in Film and Media. Copenhagen: Museum Tusculanum Press. Rosenthal, Alan (Ed.) (1999) Why Docudrama? Fact-fiction on Film and TV. Carbondale: Southern Illinois Press. Swimmer, Jeff (2015) Documentary Case Studies Behind the Scenes of the Greatest (True) Stories Ever Told. London: Bloomsbury. Winston, Brian (2000) Lies, Damn Lies and Documentaries. London: BFI.

Quality Assurance Handbook 2015/16 Page 9 of 22

UNIT TITLE Screen Craft 2.: Short Film Production Unit Code FFIP5030 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version December 2016 CONTENT This unit will provide you with the opportunity to take on responsibility for a production role that you have learnt about in Screen Craft 2.1: Production Roles in the production of a short fiction film to a given brief. You will be required to take on a specialist role whilst making a fiction production and further develop your technical skills in this area. All members of the production team will be required to engage with the research, script and production development and engage with professional levels of onset protocols and project management and demonstrate this through contributing to the group blog. AIMS The aims of this unit are: A1 To further develop technical knowledge, skills and understanding of fiction production/post

production processes and practices A2 To further develop understanding and skills of crew roles and responsibilities in fiction film

production A3 To further develop creative and productive work processes in a group situation and through

independent study. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Engage in the research, development and production of a short film. LO2 Demonstrate an aptitude and understanding of the technical processes involved in fiction

film production, including developing technical skills in a specialist area of knowledge LO3 Work productively and creatively in a group situation and independently

Quality Assurance Handbook 2015/16 Page 10 of 22

INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity 120 No. of hours of independent activity

180

No. of hours of placement activity 0 This will comprise:

• Lectures • Workshops • Group tutorials • Progress reviews • Rushes screenings • Group production and evaluation

ASSESSMENT REQUIREMENTS Table A1- Assessment Components Assessme

nt Compone

nt List all

separate componen

ts

Weighting

(%)

Typical Indicative Assessment tasks

Where the component comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in table

A2

Word Count

Approx. word count

where applicable

Portfolio 100% Production of a short film to a given brief

Portfolio

Evidence of personal research and reflection and contribution to the project through an online blog

Quality Assurance Handbook 2015/16 Page 11 of 22

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria

CRITERION

MAPS TO LEARNING OUTCOME

Technical and applied skills through the completion of a short film to a given brief

LO1

Knowledge of specialist roles in the production of a short film to a given brief

LO2

Understanding through application of team working and research

LO3

READING LISTS Essential Brown, Blain (2016) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. (3rd Ed.) Abingdon: Routledge

Quality Assurance Handbook 2015/16 Page 12 of 22

Brown, Blain (2007) Motion Picture and Video Lighting. (2nd Ed.) Focal Press. Dancyger, Ken (2010) The Technique of Film and Video Editing: History, Theory, and Practice. (5th Ed.) Focal Press. Figgis, M. (2014) Digital Film-making. (revised edition) London: Faber. Holman, Tomlinson (2010) Sound for Film and Television. (3rd Ed.) Focal Press. Katz, Steven (1991) Film Directing Shot by Shot. Michael Weise Productions. Katz, Steven (2004) Film Directing: Cinematic Motion: A Workshop for Staging Scenes. (2nd Revised Ed.) Michael Wiese Productions. Landau,David. (2014) Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image. London: Bloomsbury LoBrutto, Vincent (2002) The Filmmaker's Guide to Production Design. U.S: Allworth Press. Rooney, Bethany & Belli, Mary Lou (2011) Directors Tell the Story: Master the Craft of Television and Film Directing. Focal Press. Rizzo, Michael (2005) The Art Direction Handbook for Film. Focal Press. Wheeler, Paul (2005) Practical Cinematography. (2nd Ed.) Focal Press. Recommended Cristiano, Giuseppe. (2012). The Storyboard Artist: A Guide to Freelancing in Film, TV and Advertising. Michael Wiese Halligan, Fionnuala. (2012). FilmCraft: Production Design.Lewes: Ilex Murch, Walter. (2001) In the Blink of an Eye: A Perspective on Film Editing, Silman-James Press, U.S. 2nd Revised edition. Rabiger, Michael (2013) Directing: Film Techniques and Aesthetics. (5th Ed.) Oxford: Focal Press. Reisz, Karel and Millar, Gavin (2009) Technique of Film Editing. (Re-issue of 2nd Ed.) Oxford: Focal Press. Rowlands, Avril (2000) The Continuity Supervisor. (4th Ed.) Oxford: Focal Press. Simon, Mark (2000) Storyboards: Motion in Art. (2nd Ed.) Oxford: Focal Press. Small, Robin (2000) Production Safety for Film, Television, and Video. London: Focal Press. Shorter, Georgina (2012). Designing for Screen: Production Design and Art Direction Explained. Marlborough: Crowood Press.

Quality Assurance Handbook 2015/16 Page 13 of 22

Sonnenschein, David (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City CA: Michael Wiese Productions. Weston, Judith (1999) Directing Actors: Creating Memorable Performances for Film and Television. Studio City CA: Michael Wiese Productions.

Quality Assurance Handbook 2015/16 Page 14 of 22

UNIT TITLE Creative Documentary Unit Code FFIP5031 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version December 2016 CONTENT This unit examines story telling within the documentary form, and encourages you to undertake a documentary journey that reveals unexpected realities. Through collaborative working you will gain confidence in understanding the stories and kinds of story-telling that are appropriate to documentary film-making. This unit allows you to explore the practical and theoretical problems inherent in documentary production whilst engaging in a critical approach to the subject. You will further develop your research skills and apply them to documentary production. Through articulation and challenging of the underlying ideas and dilemmas inherent in the documentary form, you will be encouraged to reveal the world we live in through unexpected, imaginative, humane and thought-provoking film-making. Working in a group you will research and produce a documentary project to a given brief, developing your production practices and techniques including camera and editing. As an individual you will contribute to a group online blog. The blog will be used for posting the research materials that have informed the production including shot-lists, schedules, photographs, drawings, documentary treatments and other visual ideas as well as for day to day communication with other group members and tutors. AIMS The aims of this unit are: A1 To further develop your understanding of documentary forms and issues A2 To further develop your documentary research and production skills A3 To encourage you to engage with unfamiliar subjects and territory. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to:

Quality Assurance Handbook 2015/16 Page 15 of 22

LO1 Research and identify the kind of story and character with potential for a documentary subject and understand the importance of establishing the subject’s trust in creating a documentary

LO2 Develop a documentary project based on research LO3 Demonstrate skills and knowledge in the production and shaping of a documentary. INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity 120 No. of hours of independent activity

180

No. of hours of placement activity 0 This will comprise:

• Lectures • Screenings • Workshops • Tutorials • Production of a documentary project

ASSESSMENT REQUIREMENTS Table A1- Assessment Components Assessme

nt Compone

nt List all

separate componen

ts

Weighting

(%)

Typical Indicative Assessment tasks

Where the component comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types

in table A2

Word Count Approx. word count where applicable

Portfolio 100% A completed documentary project to a given brief

Portfolio

Evidence of personal research and reflection and contribution to the project through an online blog

Quality Assurance Handbook 2015/16 Page 16 of 22

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria

CRITERION

MAPS TO LEARNING OUTCOME

Knowledge and understanding through research into subject of the documentary

LO2

Technical and applied skills through the realisation of documentary project

LO1

Understanding through application of working as a team

LO3

READING LISTS Essential Baker, Maxine (2005) Documentary in the Digital Age. Oxford: Focal Press. Bruzzi, Stella (2006) New Documentary: A Critical Introduction. London, England: Routledge.

Quality Assurance Handbook 2015/16 Page 17 of 22

Dancyger, Ken (2010) The Technique of Film and Video Editing: History, Theory and Practice. Oxford: Focal Press. De Jong, Wilma, Rothwell, Jerry and Knudsen, Erik (2011) Creative Documentary Theory and Practice. Harlow: Pearson Education Ltd. Kaufmann, Sam and Kennedy, Ashley (2012) Avid Editing, Fifth Edition. A Guide for Beginning and Intermediate Users. Oxford: Focal Press. Laytin, Peter (2001) Creative Camera Control, Third Edition. Oxford: Focal Press. Macdonald, Kevin and Cousins, Mark (2006) Imagining Reality: Faber Book of the Documentary. Papazian, Elizabeth and Eades, Caroline. Eds. (2016). The Essay Film. Dialogue, Politics, Utopia. London: Wallflower Press Rabiger, Michael (2015) Directing the Documentary. (6th Edition) Oxford: Focal Press. Recommended Ellis, J. (2012) Documentary: Witness and Self-revelation. Abingdon: Routledge. Hall, Stuart, Evans, Jessica and Nixon, Sean (2013) Representation – Cultural Representations and Signifying Practices. UK: Sage. Nichols, B. (1991) Representing Reality. Bloomington: Indiana University Press. Nichols, B. (2010) Introduction to Documentary. (2nd Ed.) Bloomington and Indianapolis: Indiana UP. Piotrowska, Agnieszka (2014) Psychoanalysis and Ethics in Documentary Film. UK: Routledge. Swimmer, Jeff (2015) Documentary Case Studies Behind the Scenes of the Greatest (True) Stories Ever Told. London: Bloomsbury.

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UNIT TITLE Contextual Film Studies (Incoming Study

Abroad and returning students Option Term 2 and 3)

Unit Code FFIP5032 Location Farnham Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version CONTENT This unit is designed to enable students attending UCA as part of the Exchange Programme to engage with the historical and theoretical aspect of the course. They will be awarded credit in order to translate this to their home institution’s award. Students returning from Study Abroad (taken in Term 1) will be able to gain the credits necessary to progress. This unit provides a cultural, critical, theoretical and historical overview of the ways in which selected filmmakers from a variety of international contexts have responded to real-life events. A selection of fiction and non-fiction moving image texts that take real-life events as their starting points will be explored and a range of relevant theoretical and interpretative approaches will be employed to analyse their production and consumption. You will further develop your academic research and study skills. The content of the unit is delivered through lectures, screenings, seminars, and tutorials and also requires you to engage in independent study and research to complete an illustrated, written assessment task. AIMS The aims of this unit are: A1 To enable the exploration and understanding of specific contexts of production and

consumption of moving image texts that use real-life events as their starting points A2 To identify and employ appropriate research approaches in support of an analysis of moving

texts that use real-life events as their starting points A3 To enable you to create a cohesive and appropriately illustrated research project, supported

by relevant evidence that conforms to academic conventions.

Quality Assurance Handbook 2015/16 Page 19 of 22

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate through exploration an understanding of specific contexts of production and

consumption of moving image texts that use real-life events as their starting points LO2 Demonstrate ability to identify and employ appropriate research approaches in support of an

analysis of moving texts that use real-life events as their starting points LO3 Creation of a coherent and appropriately illustrated research project, supported by relevant

evidence, that conforms to academic conventions. INDICATIVE TEACHING & LEARNING METHODS No. of hours of scheduled activity1

35

No. of hours of independent activity

265

No. of hours of placement activity This will comprise: Lectures, screenings, seminars, tutorials, independent study.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components that must be passed

separately to achieve a pass in

the unit (e.g. essay, portfolio)

Weigh-ting

(%)

Typical Indicative Assessment tasks

Where the component

comprises more than one

assessment task

Assessment Type For each

component double click in the box to

see options. The options equate to the assessment types in table A2

Word Count Approx word count where applica

ble

Written assignment

100% Written assignment Written assignment

4000

11 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Quality Assurance Handbook 2015/16 Page 20 of 22

including essay including essay Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 100% Coursework

Report Coursework

Dissertation Coursework

Portfolio Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100 Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Demonstration of understanding through exploration of specific contexts of production and consumption of moving image texts

LO1

Identification and employment of appropriate research approaches in support of an analysis of moving texts

LO2

Creation a coherent and appropriately illustrated research project, supported by relevant evidence, that conforms to academic conventions

LO3

Quality Assurance Handbook 2015/16 Page 21 of 22

READING LISTS Essential Aitken, Ian (Ed.) (1998) The Documentary Film Movement. Edinburgh: Edinburgh University Press. Bruzzi, Stella (2006) New Documentary: A Critical Introduction. (2nd Ed.) London: Routledge. Cowie, Elizabeth (2011) Recording the Real, Desiring the Real (Visible Evidence). Minnesota: University of Minnesota Press. Ellis, John (2011) Documentary: Witness and Self-Revelation. London: Routledge. Gaines, Jane and Renov, Michael (Eds.) (1999) Collecting Visible Evidence. Minnesota: University of Minnesota Press. Hall, Stuart, Evans, Jessica and Nixon, Sean (2013) Representation – Cultural Representations and Signifying Practices. UK: Sage. Nichols, Bill (1992) Representing Reality. Indiana: Indiana University Press. Piotrowska, Agnieszka. (2014). Psychoanalysis and Ethics in Documentary Film. UK: Routledge. Winston, Brian (Ed.) (2013) The Documentary Film Book. London: BFI. Recommended Hill, Annette (2007) Restyling Factual TV. London and New York: Routlege. Jerslev, Anne (Ed.) (2002) Realism and 'Reality' in Film and Media. Copenhagen: Museum Tusculanum Press. Rosenthal, Alan (Ed.) (1999) Why Docudrama? Fact-fiction on Film and TV. Carbondale: Southern Illinois Press. Swimmer, Jeff (2015) Documentary Case Studies Behind the Scenes of the Greatest (True) Stories Ever Told. London: Bloomsbury. Winston, Brian (2000) Lies, Damn Lies and Documentaries. London: BFI.

Quality Assurance Handbook 2015/16 Page 22 of 22