2019-20 Film and Television Production with Producing Programme Design Document

	A	C	F	I	J	N	R	T	X	AA	AB	AH	AI	AK	AR	AT
1	1. Admissions/ Management Information
2	Title of the new programme – including any lower awards Please provide the titles used for all awards relating to this programme. Note: all programmes are required to have at least a Postgraduate Certificate exit award. See guidance on programme titles in:
3	Masters			MA in Film and Television Production with Producing
4	Postgraduate Diploma			Postgraduate Diploma in Film and Television Production with Producing								Please indicate if the Postgraduate Diploma is available as an entry point, ie. is a programme on which a student can register or as an exit award, ie. that are only available to students exiting the masters programme early, or both.
5	Postgraduate Certificate			Postgraduate Certificate in Film and Television Production with Producing								Please indicate if the Postgraduate Certificate is available as an entry points, ie. is a programme on which a student can register, or as an exit award, ie. that are only available to students exiting the masters programme early, or both.
6	Level of qualification			Level 7
7	This document applies to students who commenced the programme(s) in:							2019
8	Awarding institution										Teaching institution
9	University of York										University of York
10	Department(s): Where more than one department is involved, indicate the lead department										Board of Studies
11	Lead Department		Department of Theatre, Film, Television and Interactive Media								Department of Theatre, Film, Television and Interactive Media
12	Other contributing Departments:		N/A
13	Route code (existing programmes only)							PMFTVSPRO1
14	Admissions criteria
15	2.1 or higher in an undergraduate degree (or equivalent overseas qualification); a short portfolio of creative work (commonly a short film) on which canddiate has had a major creative role (director, producer, editor, writer, cinematographer). For non-UK candidates, an overall IELTS score of 6.5 with a minimum of 6.0 in all units.
16	Length and status of the programme(s) and mode(s) of study
17	Programme				Length (years/ months)	Status (full-time/ part-time) Please select	Start dates/months (if applicable – for programmes that have multiple intakes or start dates that differ from the usual academic year)				Mode
18
19											Face-to-face, campus-based			Distance learning		Other
20	MA in Film and Television Production with Producing				1 year	Full-time					Please select Y/N		Yes	Please select Y/N	No
21	Language(s) of study
22	English
23	Language(s) of assessment
24	English
25	2. Programme accreditation by Professional, Statutory or Regulatory Bodies (PSRB)
26	2.a. Is the programme recognised or accredited by a PSRB
27	Please Select Y/N:		Yes	if No move to section 3 if Yes complete the following questions
28	2.b. Name of PSRB
29	Screenskills (formerly Creative Skillset)
30	2.c. Please provide details of any approval/ accreditation event needed, including: timescales, the nature of the event, central support / information required:
31	This programme is largely based on our current MA Digital Film and TV Production, which currently has this accreditation. We contacted Creative Skillset about our proposal to replace the current programme with three variants based heavily on the current design (e.g., MA in Film and Television Production with Producing, ... Directing, ... Cinematography) for comment about accreditation. In an e-mail on 23/10/17, Alex Martin, Senior Development Manager – Accreditation & Standards at Creative Skillset, confirmed that, “I have read the proposal, which shows that the changes shouldn’t alter the courses drastically. I would therefore like to confirm that accreditation should be able to continue without interruption. All we need to do is to update the title of the courses on our databases and website upon launch.”
32	2.d Does/ will approval or recognition require exceptions to University rules/practices? Please select Y/N								No	if Yes, provide details
33	N/A
34	2.e. Any additional information (e.g. student attainment required to achieve accreditation) that are required by the PSRB should be recorded here
35	N/A
36	3. Additional Professional or Vocational Standards
37	Are there any additional requirements of accrediting bodies or PSRB or pre-requisite professional experience needed to study this programme?
38	Please Select Y/N:		No	if Yes, provide details
39	N/A
40	4. Programme leadership and programme team
41	4.a. Please name the programme leader for the year to which the programme design applies and any key members of staff responsible for designing, maintaining and overseeing the programme.
42	John Mateer will be the Programme Leader. Module conveners include David Hickman, John Mateer and Andrew Vickers.
43	4.b. How are wider stakeholders such as students/ alumni, professional bodies and employers involved in the design of the programme and in ongoing reflection on its effectiveness?
44	This programme is one of three specialist variants proposed to replace the current MA Digital Film and TV Production course. The design of this proposed programme, which is largely based on the current course, has been informed by discussions with the TFTV Advisory Board (which consists largely of film and TV industry specialists) as well as feedback gathered from students on the current MA Digital Film and Television Production and consultations with BIU and SRA.
45	5. Purpose and learning outcomes of the programme
46	5.a. Statement of purpose for applicants to the masters programme Please express succinctly the overall aims of the programme as an applicant facing statement for a prospectus or website. This should clarify to a prospective student why they should choose this programme, what it will provide to them and what benefits they will gain from completing it.
47	The MA in Film and Television Production with Producing is an intensive and specialised course that will equip you for the challenges of entering a film and television industry that is undergoing unprecedented and rapid change. You’ll have the opportunity to develop the specialised skills needed for producing single-camera film and television productions in a rich and stimulating environment. From identifying and developing story ideas, to packaging and pitching projects, to planning and managing shoots, through to distribution and marketing strategies, you will learn all aspects of producing both fiction and non-fiction projects for film and television. You will also gain transferable skills, such as creating proposals, project planning, budgeting, scheduling, personnel management and others, that are applicable beyond the world of media. In addition to scheduled classes, you will have contact with leading film and television professionals via the department's professional visitors’ programme. Sessions include masterclasses, lectures and workshops exploring a wide range of creative, technical and academic areas related to industry practices. Working with our industry-standard facilities and equipment, you'll gain practical experience and detailed knowledge of the tools typically used in film and television. By the end of your course you will have produced innovative work that you'll complete to the highest professional standards. This MA is accredited by Screenskills, the British film and TV industry body tasked with developing the highest levels of craft and creativity among emerging film and TV programme-makers.
48	5.a.i Statement of purpose for applicants registering for the postgraduate diploma programme Please express succinctly the overall aims of the programme as an applicant facing statement for a prospectus or website. This should clarify to a prospective student why they should choose this programme, what it will provide to them and what benefits they will gain from completing it.
49	NOTE: This award is not offered by the University except as an exit award. Therefore a student awarded a postgraduate diploma will have had such an offer made only by the postgraduate examinations board, usually after the completion of the taught part of the course.
50	5.a.ii Statement of purpose for applicants registering for the postgraduate certificate programme Please express succinctly the overall aims of the programme as an applicant facing statement for a prospectus or website. This should clarify to a prospective student why they should choose this programme, what it will provide to them and what benefits they will gain from completing it.
51	NOTE: This award is not offered by the University except as an exit award. Therefore a student awarded a postgraduate certificate will have had such an offer made only by the postgraduate examinations board, usually after the completion of the taught part of the course.
52	5.b.i. Programme Learning Outcomes - Masters Please provide six to eight statements of what a graduate of the Masters programme can be expected to do. If the document only covers a Postgraduate Certificate or Postgraduate Diploma please specify four to six PLO statements for the PG Certificate and four-eight for the PG Diploma in the sections 5.b.ii and 5.b.iii as appropriate. Taken together, these outcomes should capture the distinctive features of the programme. They should also be outcomes for which progressive achievement through the course of the programme can be articulated, and which will therefore be reflected in the design of the whole programme.
53	PLO	On successful completion of the programme, graduates will be able to:
54	1	Carry out single-camera film and television production to a professional standard by employing an in-depth knowledge of the producing process to create effective screen-based stories.
55	2	Exercise critical judgement and intellectual rigour in approaching complex creative challenges and opportunities. Be able to communicate clearly and persuasively using appropriate written, oral and visual media.
56	3	Work independently in initiating and developing high quality works by applying a range of creative, technical and practical skills – including treatment, script and project development.
57	4	Work collaboratively – as leader or team member – in producing high quality works, in line with current industry practices and standards.
58	5	Deploy confidently a range of industry standard digital technologies to produce creative works initiated by yourself and others.
59	6	Creatively apply the practical and technical components of producing -- with an understanding of how it relates to and informs different component parts of production (e.g., writing and directing) -- to the art of cinematic fiction and non-fiction storytelling.
60	7	Apply transferrable skills in a range of contexts relevant beyond media production.
61	5.c. Explanation of the choice of Programme Learning Outcomes Please explain your rationale for choosing these PLOs in a statement that can be used for students (such as in a student handbook). Please include brief reference to:
62	i) Why the PLOs are considered ambitious or stretching?
63	The Programme Learning Outcomes encompass the key components of an effective and creative producer in the film and TV industry: critical thinking (PLO1), effective communication (PLO2), independence (PLO3), collaboration (PLO4), technology (PLO5) and craft (PLO6). They also reflect the significant transferable skills a producer must obtain that are applicable beyond media (PLO7). These PLOs are mapped from the industry's evolving producing practices and creative demands. They incorporate objectives relating to rapid changes in technology as well as to craft skills that have been relatively unchanged since the early years of film. They emphasise the vital importance of both independence (during programme and film development) and collaboration (during production and postproduction) in the filmmaking process. And they recognise the critical thinking and communicative skills required in an industry that is both film-literate and that places a high value on creative innovation. In bringing all of these elements together in one programme, students completing this MA are equipped with the skills and intellectual focus necessary to enable them to enter the media industry with a skillset that not only enables them to work effectively as producers but also productively in other roles and business sectors.
64	ii) The ways in which these outcomes are distinctive or particularly advantageous to the student:
65	While the programme places an emphasis on producing methods, students experience all facets of preproduction, production and postproduction. A producer who understands the creative and technical challenges of the director is likely to be more effective in being able to facilitate support for their vision. Likewise, a producer who understands the role of the writer will be better equipped to develop and realise stories that have a clear audience and market relevance. Because key industry positions share the same characteristics (e.g., an producer needs to be just as knowledgable about craft practices and technology as a director) students gain core skills and knowledge that will enable them to work in other areas in film and television should they wish. Likewise, skills in planning, presentation and management are highly transferrable and applicable well beyond the media sector.
66	iii) Please detail how you would support students from diverse entry routes to transition into the programme? For example, disciplinary knowledge and conventions of the discipline, language skills, academic and writing skills, lab skills, academic integrity
67	This MA is designed to attract students from a variety of backgrounds and specialisms but who have a demonstrated fundamental understanding of the filmmaking process (as evidenced by sample production work at the point of application) and an interest in focusing on producing screen-based programmes. Through detailed theoretical exploration underpinned by extensive practical work (involving both guided workshop exercises and student-led project work), students from all backgrounds will build on their core knowledge of filmmaking and acquire specialist knowledge. Scaffolding will be provided by extensive feedback during workshop sessions and from formative work as well as regular drop-in sessions to meet with teaching staff. Formative work will also be used to develop and enhance communication skills for both specialist (e.g., screenplay, pitch, etc.) and academic (e.g., reflective essay, technical report, etc.) areas to ensure students from all backgrounds will be able to communicate effectively. Communication skills are vital in all aspects of the film and television industry and thus emphasised and reinforced in all modules on the programme.
68	iv) Please explain how the design of the programme enables students to progress through to the end of the award? For example, in terms of the development of research skills, enabling students to complete an independent study module, developing competence and confidence in practical skills/ professional skills, (See: QAA Mater's degree characteristics http://www.qaa.ac.uk/publications/information-and-guidance/publication?PubID=2977#.WS1JOevyu70).
69	This MA is designed to create an intensive but rounded experience through which students build on their general understanding of filmmaking to gain a deeper knowledge of production and the producer's role in facilitating it through both theoretical and practical work. The first term concentrates largely on providing a detailed grounding in producing methods and how film and television projects get made, reinforcing this through practical work in a group setting. The second term builds on this foundation and promotes a deeper investigation of producing practice through more complex group work designed to replicate advanced real-world production requirements as well as a detailed exploration of both story development and business practice. Working through the logistical, creative and practical aspects of production provides students with a solid foundation for the Individual Project, in which students make their own film or TV programme (along with a reflective essay and technical report). By the end of the programme, students will be able to produce work of an industry standard and have a clear understanding of what is required to create effective screen-based stories whether narrative or non-fiction.
70	v) How the programme learning outcomes develop students’ digital literacy and use technology-enhanced learning to achieve the discipline and pedagogic goals which support active student learning through peer/tutor interaction, collaboration and formative (self) assessment opportunities (reference could be made to such as blogging, flipped classrooms, response 'clickers' in lectures, simulations, etc).
71	Digital literacy is essential to this MA given the nature of current industry practice (e.g., 'digital cinema', 'digital television', etc.) and the use of digital tools in all aspects of producing (e.g., presentations, planning, budgeting, scheduling, etc.) Learning is focused on interactions with production staff and professionals to show how these digital tools fit within industry practice. Workshops play an important role in the programme and are designed to allow students to become accustomed to using equipment and software, and to develop production skills through repetition and experimentation. Additionally, students are strongly encouraged to practice and refine their skills in their study time. Access to media labs, specialist postproduction suites and production equipment is readily offered to enable students to work with all types of systems to develop their skills.
72	vi) How the PLOs support and enhance the students’ employability (for example, opportunities for students to apply their learning in a real world setting)? The programme's employability objectives should be informed by the University's Employability Strategy:
73	As a Screenskills-accredited programme, this MA takes significant account of the needs and requirements of employers in the film and television industry. Screenskills's remit is to maintain and enhance the British production industry's preeminent position in worldwide cinema and television production. Courses like this are therefore judged for their ability to produce graduates with the skills and creativity to support that objective. Some employers in production will either favour students from Screenskills courses, or in some cases, strongly prefer students from courses with the accreditation. For overseas students, the advantage of a Screenskills course is that it sets a benchmark for skills and creativity that is applicable anywhere in the world. Also, a significant number of the skills students learn, such as planning, developing presentations, budgeting, scheduling and others, are applicable in other areas outside the media sector which means students should be well equipped with employable skills.
74	vii) Consultation with Careers The programme proposal should be discussed with Careers. Please contact your Faculty Employability Manager. Please provide details of Careers' comments and your response.
75	The film and television production industries are populated, for the most part, by freelancers. We have had detailed discussions with Careers about the unique needs of the sector and how both internal (to the department) and external (University) initiatives can support the needs of our students. Home and EU students on the MA can benefit from Screenskills accreditation because they have access, after graduating, to employment opportunities offered by the Skillset trainee scheme. These may include working on the floor of a production in a feature film or in episodic (fiction or non-fiction) television. The Department of Theatre Film and Television also advises students on employment opportunities, whether in full-time work or in internships, and has a dedicated member of the academic staff compiling and promoting employment offers.
76	viii) How is teaching informed and led by research in the department/ centre/ University?
77	Teaching on this MA is by staff members with often longstanding and award-winning expertise in various aspects of production, including experienced television and feature film producers. Staff have regular interaction with other industry professionals, and all have a strong commitment to reflect in our teaching the reality of a rapidly changing, often transformative, industry. Many staff also are active researchers looking at different aspects of the film and television industry (e.g., the impact on-line distribution of film on producing and revenue streams, emerging technologies such as virtual reality, etc.) the findings of which are fed into module content.
78	5.d. Progression For masters programmes where students do not incrementally 'progress' on the completion of a discrete Postgraduate Certificate and Postgraduate Diploma, please summarise students’ progressive development towards the achievement of PLOs, in terms of the characteristics that you expect students to demonstrate at the end of the set of modules or part thereof, and provide appropriate detail of the module diet students will need to complete. This summary may be particularly helpful to students and the programme team where there is a high proportion of option modules and in circumstances where students registered on a higher award will exit early with a lower one. Note: it is not expected that a position statement is written for each masters PLO, but this can be done if preferred.
79	i) If the Postgraduate Certificate is an exit award only please:
80	Provide a global statement to explain what a student who exits with a PG Cert award will be able to do (this should capture the extent of the achievement of the programme learning outcomes). NB: Where more than one PG Cert is available as an exit award a statement should be provided detailing what a student exiting with each award will be able to do									Detail the module diet that students will have to have completed to gain the PG Cert as an exit award. NB: Where more than one PG Cert is available as an exit award the module diet required for each award should be given
81	Students exiting with a Postgraduate Certificate must be able to demonstrate a basic understanding of the role of the producer in film and television production as well as demonstrate basic competence in applying the methods and tools related to that role.									Students attaining a Postgraduate Certificate must successfully complete modules worth 60 credits. These can be any combination of the 10 or 20 credit taught modules described in the module information sheet. This is most commonly used in the case of students who fail to progress to the Individual Project module.
82	ii) If the Postgraduate Diploma is an exit award only please:
83	Provide a global statement to explain what a student who exits with a PG Dip award will be able to do (this should capture the extent of the achievement of the programme learning outcomes)									Detail the module diet that students will have to have completed to gain the PG Dip as an exit award
84	Students exiting with a Postgraduate Diploma must be able to demonstrate a general understanding of the role of the producer in film and television production through all phases of the creation process as well as demonstrate general competence in applying the methods and tools related to the role, and an ability to report on their use.									Students attaining a Postgraduate Diploma must successfully complete modules worth 120 credits. This would normally consist of completing all of the 10 and 20 credit taught modules and a smaller scale independent project accompanied by a dissertation of 7,000 words. This project is specified on a case by case basis by the department and is used only for students who for some reason cannot complete the full individual project.
85	5.e. Other features of the programme
86	i) Involvement of partner organisations Are any partner organisations involved in the delivery of the programme?
87	Please Select Y/N:		No	if Yes, outline the nature of their involvement (such as contributions to teaching, placement provision). Where appropriate, see also the:
88	Please Select Y/N:		No	University guidance on collaborative provision
89	n/a
90	ii) Internationalisation/ globalisation How does the programme promote internationalisation and encourage students to develop cross-cultural capabilities?
91	As is the case with the current MA in Digital Film and TV Production course, we expect cohorts to consist of students from a wide range of countries and backgrounds. Modules actively encourage students to share and reflect on each others ideas, which organically promotes cross-cultural awareness and the exchange of different perspectives and experiences.
92	iii) Inclusivity How will good practice in ensuring equality, diversity and inclusion be embedded in the design, content and delivery of the programme?
93	This refers to the protected characteristics and duties on the University outlined in the Equality Act 2010
94	Inclusivity and the promotion of equality and diversity are increasingly important aspects of the producer's role (as noted by current revelations in the industry) and module content makes active reference to this. We also actively seek to ensure that groups are balanced and monitor group work closely to ensure that all students have an equal opportunity to contribute in an appropriately collegial environment, enforcing department policy on group working practices (which were derived from University directives).
95	6. Reference points and programme regulations
96	6.a. Relevant Quality Assurance Agency benchmark statement(s) and other relevant external reference points Please state relevant reference points consulted (e.g. Framework for Higher Education Qualifications, National Occupational Standards, Subject Benchmark Statements or the requirements of PSRBs): See also Taught Postgraduate Modular Scheme: Framework for Programme Design:
97
98	6.b. University award regulations
99	The University’s award and assessment regulations apply to all programmes: any exceptions that relate to this programme are approved by University Teaching Committee and are recorded at the end of this document.
100	7. Programme Structure