2021-22 BSc Film and Television Production Programme Design Document

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1	Programme Information & PLOs
2	Title of the new programme – including any year abroad/ in industry variants
3	BSc in Film and Television Production
4	Level of qualification
5	Please select:				Level 6
6	Please indicate if the programme is offered with any year abroad / in industry variants																				Year in Industry Please select Y/N								No
7																					Year Abroad Please select Y/N								No
8	Department(s): Where more than one department is involved, indicate the lead department
9	Lead Department		Theatre, Film, Television and Interactive Media
10	Other contributing Departments:		N/A
11	Programme Leader
12	Dr Mariana Lopez
13	Purpose and learning outcomes of the programme
14	The BSc in Film and Television Production offers you a unique opportunity to study, explore and practice contemporary film and television production in a rich and stimulating environment. The programme provides a rounded learning experience through which you will gain deep theoretical, technical and practical knowledge. The unique combination of these areas is designed to ensure that you will acquire the necessary critical, creative and practical skills to enable you to write, direct, shoot and edit films and television, as well as developing a sophisticated understanding of the aesthetic, technological, industrial and historical contexts of these media. The programme combines creative and technical work with the contextual analysis of the history of film and television and debates about technique, style and meaning. In dealing with both the art and the science of production, the programme is designed to appeal to a wide range of students with different kinds of academic backgrounds, interests and strengths. You will benefit from one of the best-equipped and most up-to-date production centres at any UK university. In addition to scheduled classes, you will also benefit from regular contact with leading film and television practitioners via the department’s professional visitors programme. This includes masterclasses, lectures and workshops addressing a wide range of creative, technical and academic issues. Upon completion, you will have acquired a detailed knowledge of the theory and practice of film and television and a broad range of academic, creative and technical skills that are essential for pursuing careers in these highly competitive creative industries as well as also being transferable to other fields or future study.
15	Programme Learning Outcomes Please provide six to eight statements of what a graduate of the programme can be expected to do. 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.
16	PLO	On successful completion of the programme, graduates will be able to:
17	1	Exercise a critical understanding of the creative processes and current practices in professional film and television production - including how different stages of these processes relate to and inform one another - by applying the knowledge and practical skills gained in appropriate professional situations.
18	2	Initiate and produce work, both individually and collaboratively, by applying – with creative, technical and artistic flair - a range of independent and team-working skills in combination with specialist practical skills in the use of digital production technologies.
19	3	Constructively contribute to a range of activities related to the film and television industries by virtue of an advanced understanding of the role, function and use of digital technologies in contemporary film and television production, distribution and exhibition.
20	4	Navigate and negotiate the complexities of the film and television industries in order to develop their own careers through applying a critical understanding of the structure and functioning of those industries and the issues which they face now and going forward
21	5	Recognise and develop a capacity to intervene effectively into a range of issues relating to film and television culture through a developed and critical understanding of moving image forms and aesthetics and of how films and television programmes tell stories, create meaning and relate to social and cultural conditions.
22	6	Identify how historical issues influence present working practices in the film and television industries by drawing upon a rich knowledge and understanding of both the chronological developments in and geographical diversity of film and television output.
23	7	Exercise critical judgement, intellectual rigour and creativity in approaching new as well as familiar situations, and be able to communicate clearly and persuasively using appropriate written, oral and visual media.
24	Programme Learning Outcome for year in industry (where applicable) For programmes which lead to the title ‘with a Year in Industry’ – typically involving an additional year – please provide either a) amended versions of some (at least one, but not necessarily all) of the standard PLOs listed above, showing how these are changed and enhanced by the additional year in industry b) an additional PLO, if and only if it is not possible to capture a key ability developed by the year in industry by alteration of the standard PLOs.
25	N/A
26	Programme Learning Outcome for year abroad programmes (where applicable) For programmes which lead to the title ‘with a Year Abroad’ – typically involving an additional year – please provide either a) amended versions of some (at least one, but not necessarily all) of the standard PLOs listed above, showing how these are changed and enhanced by the additional year abroad or b) an additional PLO, if and only if it is not possible to capture a key ability developed by the year abroad by alteration of the standard PLOs.
27	N/A
28	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:
29	i) Why the PLOs are considered ambitious or stretching?
30	This programme aims to develop students’ intellectual, practical, creative and technical skills in a way that combines traditional academic rigour and independent critical learning with hands-on and vocationally-relevant film and television production training. This integration of theory and practice is also interdisciplinary in that it draws on concepts, methodologies and techniques from the arts and humanities, the social sciences and the sciences and applies these to inform both individual and group learning, providing students with an integrated understanding of creative and communicative processes, production contexts and final products
31	ii) The ways in which these outcomes are distinctive or particularly advantageous to the student:
32	Rather than focussing primarily on either contextual study or practical production, these outcomes seek to provide students with knowledge, understanding, insight and experience from different perspectives, which in turn will provide them with both general and specialist skills directly relevant to the theory and practice of contemporary film and television production. Students will be exposed to the artistic, technical, intellectual and industrial dimensions of film and television as well as understanding their constitution as simultaneously creative practices, commercial entertainments, and social, cultural and political phenomena. This range and scope is designed to provide students with both a solid foundation and a broad range of potential ways to develop their talents and futures primarily in film and television but with relevance also to industries and sectors that utilise the digital production of image and sound to tell stories, communicate ideas, advertise and sell products and services.
33	iii) How the programme learning outcomes develop students’ digital literacy and will make appropriate use of technology-enhanced learning (such as lecture recordings, online resources, simulations, online assessment, ‘flipped classrooms’ etc)?
34	Digital literacy is at the heart of this programme as students learn how to record, create, edit, manipulate and disseminate images, sounds and written text across a wide range of modules on all three years of the programme. In addition, teaching also embraces the convergence of traditional media and new digital technologies and actively explores how new digital possibilities are influencing the delivery of content now, and into the future. By basing compulsory assessments on blogs meanwhile (which includes the use of social media to gather data) and in equipping students to use 'net-based crowd-funding systems to finance their productions we also encourage students to develop forms of digital productivity outside of the formal demands of media production. We would note moreover that career prospects in the media industries are increasingly driven by digital literacy, hence the department's emphasis on students joining industry specific social networks, such as "HIIVE" run by ScreenSkills (this also speaks to "employability" below).
35	iv) 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:
36	http://www.york.ac.uk/about/departments/support-and-admin/careers/staff/
37	The programme was designed with the current needs and future potential of the film and television industries in mind, while at the same time being cognisant of the value of traditional academic skills. The PLOs clearly reflect this strong industry-focus, as does our accreditation from ScreenSkills, the official industry skills body for the Creative Industries in the UK (see: www.york.ac.uk/careers), while at the same time ensuring a high level of contextual, critical and analytical understanding of film and television as art forms, industries and technologies. This is accomplished through teaching staff with a range of expertise and industry-facing perspectives including technologists and practicing professionals in addition to traditional scholars. Voluntary placement opportunities are actively supported and regularly facilitated, providing students with relevant real-world experience as well as encouraging proactivity. It is worth noting that while placements are voluntary, a significant number of students draw on departmental organisation and support to secure them and the department now has a growing list of employers who readily welcome work placements from FTP Students. Meanwhile masterclasses enable latest best practice to be shared directly with students, ensuring currency. Alongside formal, industrially specific skills, a wider range of professional disciplines are catered to in the programme's emphasis on group working (diplomacy, communication etc.), project management (finance, scheduling, workload deployment) and individual verbal and visual presentation skills (in class pitches, powerpoint presentations etc.), amongst others.
38	vi) How will students who need additional support for academic and transferable skills be identified and supported by the Department?
39	Students who need additional support will be identified by their performance in taught sessions, and in their formative and summative work in the first weeks of Stage 1. Additionally, students may have self-identified as having a disability on their UCAS application. Personal supervisors will also keep track of their supervisees' academic progress, and advise those students who may need further support. Module tutors and personal supervisors will ensure that students are aware of the support offered by the university's Maths Skills Centre (including online resources and drop-in sessions) and the Writing Centre (including providing the student with a referral where appropriate). Our Student Welfare and Disability Officer will assist students in liaising with Disability Services, and will ensure that all relevant teaching staff are aware of, and have access to, any Student Support Plans for students they teach.
40	vii) How is teaching informed and led by research in the department/ centre/ University?
41	The initial design of the BSc FTP was informed by the research and professional expertise of John Mateer (film production) and Duncan Petrie (film and TV studies). The subsequent development and refinement of the programme has been informed by the expertise of staff teaching on the programme. The process of ensuring research continues to maintain the programme's currency is demonstrated in subsequent appointments - staff for example whose research links traditional media with interactivity through convergence - and in recruiting teachers from industry whose experience is not just craft-specific but at the front-line of policy (network executives, for example). The currency of formal research in the department - on topics such as storytelling, emotion, sound design and historical and contemporary film and television production, distribution and consumption - KTP projects and sustained production involvement combine to ensure the programme remains in contact with the latest developments in research and industry practice, and offer students up-to-date ideas and practical experience.
42	Stage-level progression Please complete the table below, to summarise students’ progressive development towards the achievement of PLOs, in terms of the characteristics that you expect students to demonstrate at the end of each year. This summary may be particularly helpful to students and the programme team where there is a high proportion of option modules. Note: it is not expected that a position statement is written for each PLO, but this can be done if preferred (please add information in the 'individual statement' boxes). For a statement that applies across all PLOs in the stage fill in the 'Global statement' box.
47	Stage 1
48	On progression from the first year (Stage 1), students will be able to:											Develop creative projects based on: an understanding of the centrality of storytelling in film and television, an ability to apply the formal properties of screen media to tell stories and generate meaning, and a capacity to analyse, evaluate and deploy knowledge from key developments and achievements in film and TV history. Configure projects, from a technical and practical point of view, on the basis of: a core appreciation of the scientific principles and consequent functioning of digital audio and image technologies and equipment, and a practical knowledge of how to use basic equipment confidently to achieve effective and creative results 'in the field'. Target their individual learning development and their team-working skills by: applying their combined theoretical, practical and creative knowledge to projects in a group context, and appreciating the degree to which contextual knowledge, creative and critical inquiry and underlying technical knowledge join forces to promote both academic and professional endeavour.
49	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7					PLO 8
50	Individual statements
51	Stage 2
52	On progression from the second year (Stage 2), students will be able to:											Expand the range and heighten the ambition of creative projects by: deploying knowledge of genre, and the degree to which generic conventions drive both form and commissioning in film and television, developing initial areas of individual specialisation in writing, factual programming or digital audio and image enhancement, and by exploring the application of their knowledge in both film and TV projects. Approach creative projects with greater confidence and ambition by: following through and engaging directly with each stage of production - from conception to final delivery - in both single-camera film and multi-camera studio and, in both cases, engaging with both advanced production techniques and more critically targeted, and more industrially focused, questions and challenges as to their creative and practical decision-making. Enhance their team working and project management skills by: recruiting and coordinating teams to work on location shoots and post production, scheduling pre-production and field production schedules and casting, working up and applying studio production plans, scripts and schedules for the successful delivery of precisely timed multi-camera studio programmes. Deploy - and critically understand the application of - key production skills by: formal engagement with advanced editing, filming and audio techniques and technologies alongside the degree to which that application is predicated on a critical appreciation of creative objectives and on the intellectual scrutiny of potential outcomes.
53	PLO 1		PLO 2			PLO 3					line.					PLO 5					PLO 6					PLO 7					PLO 8
54	Individual statements
55	Stage 3
56	(For Integrated Masters) On progression from the third year (Stage 3), students will be able to:											Global statement
57	PLO 1		PLO 2			PLO 3					PLO 4					PLO 5					PLO 6					PLO 7					PLO 8
58	Individual statements
59	Programme Structure
60	Module Structure and Summative Assessment Map Please complete the summary table below which shows the module structure and the pattern of summative assessment through the programme. ‘Option module’ can be used in place of a specific named option. If the programme requires students to select option modules from specific lists these lists should be provided in the next section. From the drop-down select 'S' to indicate the start of the module, 'A' to indicate the timing of each distinct summative assessment point (eg. essay submission/ exam), and 'E' to indicate the end of the module (if the end of the module coincides with the summative assessment select 'EA') . It is not expected that each summative task will be listed where an overall module might be assessed cumulatively (for example weekly problem sheets). If summative assessment by exams will be scheduled in the summer Common Assessment period (weeks 5-7) a single ‘A’ can be used within the shaded cells as it is understood that you will not know in which week of the CAP the examination will take place.
75	Stage 1
76	Credits	Module				Autumn Term										Spring Term										Summer Term
77		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
78	20	TFT00026C		Story			S							E		A
79	20	TFT00023C		Cinema: History and Analysis			S																		E	A
80	20	TFT00025C		Television: History and Analysis			S																		E	A
81	20	TFT00007C		The Science of Sound and Cinematograp hy													S												E		A
82	20	TFT00008C		Introduction to Film and Television Production Methods													S										A		E			A
83	20	TFT00024C		Content Development																						S								EA
89	Stage 2
90	Credits	Module				Autumn Term										Spring Term										Summer Term
91		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
92	20	TFT00008I		The Discipline of Genre			S								E	A
93	30	TFT00010I		Filmmaking			S															A								EA	A
94	3-	TFT00011I		Studio Television Production			S								A															EA
95	20	TFT00007I		Writing for Film and Television													S												E			A
96	20	TFT00009I		Non Fiction Forms of Film and Television													S												E			A
97	20	TFT00027I		Creative Sound and Image Production													S												E		A	A
102	Stage 3
103	Credits	Module				Autumn Term										Spring Term										Summer Term
104		Code		Title		1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10	1	2	3	4	5	6	7	8	9	10
105	20	TFT00013H		Current Issues in Film & Television			S								E	A
106	40	TFT00040H		Film &Television Group Projects			S																		EA	A
107	40	TFT00041H		Individual Research Projects												S						A								EA
108	20	TFT00047H		Advanced Audio			S							E		A
109	20	TFT00049H		Advanced Cinematography			S						A	E		A
110	20	TFT00050H		Advanced Studio Techniques			S							EA		A
111	20	TFT00046H		TV Research Skills			S				A			E		A
112	20	TFT00048H		Directing for Theatre, Film and Television			S							EA		A
113	20	TFT00051H		Esports Content Production			S							E	A	A
114	20	TFT00063H		The Future of Story: Storytelling in the Digital Age			S							E	A
134	Optional module lists If the programme requires students to select option modules from specific lists these lists should be provided below. If you need more space, use the toggles on the left to reveal ten further hidden rows.
135	Option List A		Option List B			Option List C					Option List D					Option List E					Option List F					Option List G					Option List H
136	Writing for Film and Television		Advanced Audio
137	Non Fiction Forms of Film and Television		Advanced Cinematography
138	Creative Sound and Image Production		TV Research Skills
139			Directing for Theatre, Film and Television
140			Advanced Studio Techniques
141			eSports Content Production
142			The Future of Story: Storytelling in the Digital Age