| Unit name | Authorship in Film and Television |
|---|---|
| Unit code | FATVM0019 |
| Credit points | 20 |
| Level of study | M/7 |
| Teaching block(s) |
Teaching Block 1 (weeks 1 - 12) |
| Unit director | Mr. Metelerkamp |
| Open unit status | Not open |
| Pre-requisites |
None |
| Co-requisites |
None |
| School/department | Department of Film and Television |
| Faculty | Faculty of Arts |
Where in the making of films and TV programmes does authorship lie, and how does it express itself? This unit will look closely at the work of some key directors in film and TV history, and/or at key iconic TV series arising from an “authored” view, to re-examine questions around authorship and the auteur by considering the choices made in the writing, development, performance and technical realisation of particular sequences. In this way the question of style will be considered as a product of relationships between ideas, themes, mise-en-scene, the contribution of actors and performance, characteristics of rhythm, camera, editing and narrative technique, and the structure of images including the role and influence of design. The combination of these elements will be considered as an expression of points of view that are both literal and social/psychological.
Aims:
• To develop students’ skills in the close analysis of film construction, with a particular emphasis on themes, styles and approaches
• To introduce historical and contemporary understandings of directorial style, temperament and vision
• To explore and contextualise the relationships between society, politics and film and TV themes and concerns.
• To equip students to engage with critical and theoretical debates about film and TV directing and authorship
On successful completion of this unit, students will be able to:
1.critically analyse films and TV programmes, and their constituent sequences in relation to the styles and approaches of their creators
2.make relevant distinctions between different authorial styles and approaches
3.consider the relationship between directing and other elements in screen realisation in appropriate historical contexts
4.examine the relationships between society, politics and authorship, including commercial constraints and contexts
5.espond to, and participate in, historical and theoretical debates about screen authorship
6.produce work within a group, showing abilities to listen, contribute and lead effectively
7.create personal practical work
Methods of Teaching
Seminars, student presentations, screenings, discussions
Contact Hours Per Week
3 – 1 hour discussion plus screening time
Student Input
30 hours contact including structured screenings
100 hours preparation of class and assessment assignments
70 hours independent study
Presentation of analysis in seminar (must pass but not awarded mark) ILO 1-6
Video essay with commentary (100%) ILO 1-7
Bart, Peter (1999) Who killed Hollywood and put the tarnish on tinseltown?
Bergman, Ingmar (1989) The Magic Lantern, London: Penguin
Biskind, Peter (2004) Down and Dirty Pictures
Eszterhas, Joe (2004) Hollywood Animal
Evans, Robert (2004) The kid stays in the Picture
Leyda, Jay (1984) Film Makers Speak: Voices of Film Experience New York, DaCapo
McBride, Joseph (ed.) (1983) Filmmakers on filmmaking :the American Film Institute seminars on motion pictures and television, Los Angeles: J.P. Tarcher, Distributed by Houghton Mifflin Co
Powell, Michael (1993) Million Dollar Movie, Mandarin
Wolff , Michael (2015) Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age (Portfolio/Penguin)
Wolk, Alan (2015) Over the Top: How the Internet Is (Slowly but Surely) Changing the Television Industry (Self-published)
