Type or paste a DOI name into the text box. A dynamic multimedia presentation of your qualifications is called what attention to your phone instead of your surroundings is dangerous, especially while driving.
Here are some creative and original answers: The chicken crossed the road. But why did the chicken cross the road? Glycerol can be made without peanut oil as well. Data is only gathered for undergraduate full-time courses.
There are a number of reasons why this course does not have KIS data associated with it. For example, it may be a franchise course run at a partner college or a course designed for continuing professional development. Ultra HD Technologies: Use the latest HD and Ultra HD camera technologies, both 4K and 2. 5K, with the choice to focus on production, post-production, screenwriting and film criticism in your second and third year. Location: with 15 large international media companies, television companies and theatres on our doorstep, this is the place to be. I’ve experimented with filmmaking in ways I never thought I would, and I can implement those newfound techniques in my freelance work.
I want to make films that change the world and open people’s eyes. Being so close to the media epicentre of London was a big part of the decision-making process. The British Film Institute and the artistic culture of the South Bank is just a short walk away from campus, which I thought would be a great way to complement my studies. Digital Film and Video third year student Amy Delooze discusses how the multi-million pound Elephant Studios inspired her to pursue a dream encounter with Harry Potter director David Yates. Our new media facilities are helping LSBU’s multimedia students keep one step ahead of the film-making crowd.
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This is a practice-based film making module that helps you to practically learn the techniques and technologies for moving the camera. These skills are learnt in the context of thinking about what bodies on screen bring to our experience of films, including ideas of identity and difference, the dynamism and energy of movement itself, and the metaphorical potential of physically embodied and performative people and characters. This module introduces working with digital video cameras, lights, sound and video editing software. You’ll light and shoot a short scene consisting of a conversation between two people. You’ll also be introduced to key production management skills such as: scheduling, call sheets and budget considerations.
This module explores the history of documentary film making along with the theoretical frameworks that shape our understanding of its claims to represent the world. A 12-week screening programme introduces you to the major documentary modalities, including those that problematise notions of truth, history and objectivity. We’ll also consider how technological, ideological and aesthetic factors impact upon documentary film making and its reception. In this module you’ll conduct research into a documentary subject and collaboratively develop and produce a short documentary film. We’ll explore different conventions, styles and methodological frameworks for creating compelling non-fiction stories and experiences. This offers both practical training in the use of post-production software, and practice-led seminars that explore the history and theory of montage.
You’ll explore editing techniques while thinking conceptually about what editing means in different contexts. The goal of this module is to achieve recording of the highest quality location sound to best facilitate your film making ambitions. Sound is the one element that will most expose any shortcomings in your film production standards, and getting to grips with the basics here will go a long way towards improving the quality of your films. This module includes a film screening series, lectures and seminars designed to explore the way dramatic narratives work and are constructed. Narrative Theory in the context of Film is about the relationship between characters in a film, between author and text, and between text and audience.
How do we know what we are expected to know when watching a film? How are our sympathies provoked and our curiosity stoked by onscreen drama? The production of film and video is almost always a collaborative exercise in some form or another. In the industry this means that teams of people, rather than the lone individual, predominantly produce work. This module offers you the opportunity to gain experience of work within the media industries through placement, shadowing experience or industry engagement. You’ll be exposed to the particular demands and possibilities of working with High Definition cameras and editing workflows, and will be asked to shoot scenes according to specified aesthetic and dramatic criteria.
You’ll be encouraged to work from their own scripts as developed in the adjacent film making workshops. In this module we bring together students from across multiple creative media disciplines to collaboratively address a conceptually framed brief, and to see a project through from initial idea to final production. The module will set a range of project briefs options related to contemporary events, situations and issues, and you’ll be involved in working collaboratively on all stages in the production of work. The key concern is that music and sound design for film demands creative and technical planning for good recording, mixing and final sweetening of the soundtrack. In this introduction to writing the short film you’ll develop and write an original 10-minute screenplay for a short narrative drama. You’ll explore the nature of narrative screen drama, and take part in research and development workshops, generating new ideas, while considering the complex relationship between the script and the screen.