MA in Archaeology for Screen Media

What are some of the most important issues in the development, practice, and theoretical underpinnings of a modern anthropological archaeology of all periods? How is anthropological archaeology a multidisciplinary practice? This unit introduces you to key elements and concepts of Historical and Contemporary archaeology, Landscape and Garden archaeology, Maritime and Conflict Archaeology. It provides insights into the construction and nature of archaeological knowledge, demonstrates how artefacts become heritage, how this heritage is presented to the public, and how all archaeologies seek to illuminate past human behaviours. From prehistory to the present, you will investigate how these behaviours shape the materialities of the archaeological record, and how archaeologists employ a diversity of approaches to analyse this.

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How do images and sounds combine to make meaning? How do film sequences work? How do you turn your own experience into a story? How do you approach the development of ideas and pitch them to those who might support the film you propose? What are the conventions of mainstream script construction? And what about avant-garde and alternative forms? How do you set about starting to write for the screen? What do directors do with scripts to turn them into sequences of film? How do shot choices and editing combine with the other elements of a scene to shape it and direct the viewer’s engagement?

This unit introduces all of the above through a set of precisely structured practical exercises that also introduce students to each other, and to the process of working together. The practical elements are supported by teaching sessions from industry-leading experts, and core staff. As a foundation for the understanding of the languages, techniques and processes of storytelling in film (both fiction and non-fiction) the unit a valuable option for students from many pathways, while being mandatory for the MA in Film and Television Production.

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How do you operate professional high-definition cameras and associated sound recording equipment for documentary production? How do you edit a project using industry-leading Final Cut Pro software? How do you plan a short non-fiction screenwork? How does a film crew work – who does what? How do you and your team develop ideas and what are the most important constraining factors in the way you plan and execute a project? How do you find an audience for your project, and how does the nature of that audience shape the way you make it?

This intensive and practical unit will answer the above questions. The use and operation of industry-standard professional hardware and software is introduced through structured workshops in small groups, taught by specialist tutors with many years of industry experience. Larger class sessions concentrate on the conceptual development and planning processes of small-scale production. These classes and workshops lay the ground-work for you to write a proposal and treatment, and to select those you will produce in small groups following professional conventions. The short project you complete will be publicly screened, and reviewed by the rest of the unit and by your own reflective analysis.

Teaching Block 2

How do the practices of anthropological archaeology and screen media interrelate? What histories do they share? How has anthropological archaeology always been a representational practice? What are the relationships between the screen, performing and visual arts and anthropological archaeology? How have the specific requirements of transforming anthropological archaeology across TV and computer screens inspired technological innovation? Where are new practices emerging and how will they influence both the practices and understandings of anthropological archaeology? In this unit you will critically investigate audio-visual representations of archaeology and material heritage in the context of current broadcast industry practice.

What are the necessary stages and processes to take a project from the point when it is decided to go ahead with it, to the actual shooting of it? How do these processes apply to your own project? What are the most important issues to consider, how do you ensure they are given due weight, and how do you undertake the practical tasks required?

This unit will assist you in preparing you for the dissertation stage. The unit is carefully structured around a series of practical exercises that focus on place, space and material culture. Workshops, seminars and screenings take you through the conceptual and practical stages of project development. In this unit you will work with the range of expert teaching staff in Drama to hone your practical and conceptual skills. Teacher expertise covers professional productions, as well as student projects across many genres and forms, and under a wide range of conditions.

Your 3-day placement will take place in the spring/summer.

One of the following:

• A 15,000-word written dissertation that addresses a topic connecting media and archaeology, or

• A practice-led audio-visual submission that encourages exploration of archaeological and media concepts through innovative use of forms, structure and style, with supporting documentation and 5,000-7,500 word critical analysis, or

• An industry-focused audio-visual submission that requires the production of a screen work that locates form, structure and style within contexts, concepts and conventions of professional practice with supporting documentation and 5,000-word critical analysis, or

• A professional placement case study that allows the student to explore a professional working environment of their choice with supporting documentation and 5,000-word critical analysis

Optional Units

Students may take one 20-credit optional unit over the course of their studies. While students are particularly encouraged to follow Screen Histories: Documentary, the following units may be available:

• Performance/Place/Space
• Screen Research Methods
• Screen Style and Aesthetics
• Screening Nations
• Specialised Individual Study
• TV Forms
• Critical Theory

Assessment

There are no formal examinations for this MA, but presentations, written work and practice-based assessments for each unit provide a progressive evaluation of student's abilities in both archaeological research methods and in media skills. The emphasis throughout the programme's teaching and learning is on individual project work, which may involve written output, but may also include audio-visual submissions or a combination of both. The placement is assessed through tutorial supervisions, pro-forma mentor's report and a student evaluation. Dedicated first class facilities and technical supervision for the production of audio-visual materials are available for those working on the programme.

Applications