Hello, dear friend, you can consult us at any time if you have any questions, add WeChat: daixieit
Academic Year
|
2025/26
|
Module Code
|
FSFM6020
|
Module Title
|
Final Major Project: Realisation
|
Location
|
Farnham, United Kingdom
|
Module Lead
|
Karen Stirgwolt
|
Level (Credit Value)
|
6, Credit Value 60
|
Semester
|
2, 14 weeks
|
Formative Assessment
|
May 2026
|
Submission Deadline
|
Final Film: April 20, 2026
Written Work: April 27, 2026
|
Summative Feedback Release
|
15 days following
|
Resit Deadline
|
June 2026
|
Study Hours
|
600 Learning Hours
|
Teaching & Learning Methods
|
Lecture, Seminar, Studio, Tutorial (in-person and online), film production, critical evaluation
|
Course(s) to which this module contributes
|
FSFM6019 Final Major Project: Realisation
|
Context & Purpose
CONTENT
In this unit you will continue to develop your knowledge and technical skills in the production of screen projects to a level that will enable you to work creatively and professionally at the end of your course. Building on the skills developed and work done previously, this unit offers you the opportunity to further develop your chosen role(s) and complete the projects started I the Final Major Project: Pre-Production unit through production and into post-production and final screening.
You are expected to work with a high degree of professionalism in a crew role(s). You will be challenged to further your technical and creative skills throughout the unit. You will continue to work on the projects
Module Handbook
Farnham School of
Film, Media and Performing Artsidentified in the previous unit to demonstrate advanced collaborative and/or individual working skills in a
creative context. You will be expected to present and apply these skills in the demonstration of originality
and creativity in the final project work on screen.
For the assessment you will be expected to complement the on-screen work with an individual portfolio
containing:
* A critical reflection: documenting the strengths and weaknesses of the project and your contribution and how you will continue to develop these to demonstrate the ability to contextualise your work in a wider screen culture.
* A contextual, creative and technical research folder: addressing your approach to the realisation of the specific projects as a whole. This can include written, visual and sonic work as well as any practical material used in production and/or post-production of the projects as appropriate to your crew role(s) to evidence a sustained approach to the development and completion of each role and each project.
Programme and Module Learning Outcomes
By the end of the module, you should be able to…
Teaching Team and Module Study Support
Every timetabled class is an opportunity to ask questions to your tutors directly.
If you have questions about the module outside of timetabled class, you can use the forum on myUCA, or email your tutor during their office hours.
See the module on myUCA for:
• Module Handbook, including the Assessment Brief
• Module Timetable
• Resource List
• Weekly unit sections where lectures, learning materials, and weekly tasks are published
• Submit my work section for assessment submissions
• Module announcements and emails providing important updates on the unit
Learning
Outcome
Number
Learning Outcome
Alignment to UCA
Generic Grading
Descriptor
LO1
To extend your technical and practical abilities in practical film production to a high level.
Exploring, Making,
Connecting, Situating,
Synthesising
LO2
Demonstrate creative collaborative work processes and sustained professionalism in your working practice.
Synthesising, connecting,
exploring
LO3
To reflect critically on the processes undertaken and how you will develop these and on the qualities of the completed work within a wider screen culture.
Synthesising, Analysing
2Additional Learning Support
• Librarians can offer tutorial support with researching and referencing - if you would like to book a tutorial, you can check availability and book online here: https://ucreative.libcal.com/appointments/
• myLibrary offers you access to an amazing range of digital research resources - if you need help with library online resources contact
[email protected]
• English for Academic Practice Support: If your first language is not English, our team of English for Academic Purposes tutors at UCA (University for the Creative Arts) are here to help you understand
your unit handbooks and lectures, understand your assessment requirements, explain how to do your research and how to improve your academic writing. Please contact
[email protected] to book a tutorial.
Staff Name
|
Staff Email
|
Available Contact Hours
|
Karen Stirgwolt
|
Karen Stirgwolt
|
Monday and Thursday
09:00-11:30
|
Ang Gao
|
Ang Gao
|
Monday and Thursday
09:00-11:30
|
Sam Liebmann
|
Sam Liebmann
|
|
|
Paul Usher
|
Paul Usher
|
|
Ted Wilkes
|
Ted Wilkes
|
|
Need Help With…
|
Contact / Resource
|
Understanding briefs, feedback and academic writing Learning Development Tutor
|
Personal Academic Tutor
|
Research & referencing Liaison Librarian
|
Nick Turner
|
Disability adjustments
|
[email protected]
|
English for Academic Purposes (EAP)
|
[email protected]
|
Personal circumstances
|
Mitigating Circumstances
Marie Roberts
|
Technical Tutor in Moving Image Post Production
|
Bassam Ahmed
|
Technical Tutor in Sound Production
|
Mattew Gibbons
|
Technical Tutor in Digital Post Production
|
Sophie Miller
|
Technician Studio & Lighting
|
Michael Chan
|
Technical Tutor in Cinematography & Cameras
|
Hugo Topott
|
Systems Support Analyst (Smarthub)
|
Billie Williams
|
Technician Moving Image Post Production
|
Amanda Wilson
|
Technical Tutor Sound for Moving Image
|
James Wright
|
Careers & Professional Practice Advisor
|
Valeria Iseppi
|
MyUCA support
|
[email protected]
|
ICT Advisors
|
[email protected]
|
Wellbeing and Finance
|
[email protected]
|
Personal circumstances
|
[email protected]
|
All other support services can be found on the Student Portal
The Brief (what you will produce)
This Unit is assessed through the completion of your portfolio, project and a report.
Portfolio:
* Your realisation research folder (15 pages max - 13 pages on your major role and 2 pages ,on your minor role.)
Project:
* Your Film (as HOD)
Report:
*A Critical Evaluation - 1500 words on your HOD project and role.
Assessment Deadline: FILM: April 20, 2026 WRITTEN WORK: April 27, 2026
Feedback — Please allow 15 working days for your feedback.
Assessment Type
|
Assessment Component:
|
Weight
|
Assesses LO
|
Generic Grading Criteria
|
Coursework
|
Project Work: Film
|
25%
|
LO2
|
Practical/Project
|
|
Portfolio: Realisation
Research Folder
|
50%
|
LO1
|
Coursework/Written
|
Coursework
|
Report: Critical Evaluation
|
25%
|
LO3
|
Coursework/Written
|
Please see Module Assessment Rubric for specific grade-banding requirements.
Research Ethics
Any photography, interviews or surveys conducted for this project must comply with UCA’s Ethical Research Policy and UK GDPR.
Adjustments to your Assessments
Reasonable Adjustments
If you have a disability, specific learning difference or medical condition that affects your studies, UCA’s Disability & SpLD team is here to help. By sharing your needs early, we can agree an Individual Learning Plan (ILP) and arrange any reasonable adjustments (e.g. extra time in workshops, accessible materials, assistive technology).
All discussions are confidential, and adjustments are designed to support your independent learning and success.
For more information or to request support, email [email protected] or visit Student Services.
Mitigating Circumstances
UCA has a system for helping students who need extra time to do their learning on a project due to illness or another circumstance outside their control which occurs suddenly during a Unit’s teaching and couldn’t be predicted or avoided by the student.
To apply for extra time using this system go to the myA-Z on myUCA. Read the instructions about mitigating circumstances.
Please note: You MUST apply for mitigating circumstances before the assessment deadline. You can find the form for this here.
Submission Guidelines
(Applies to the first-sit [component: component names]: Critical Visual Essay + Reflective Statement. Followed by late-submission, resit, and technical checks.)
Overview of deliverables
Component
|
File required
|
Weight
|
Due
|
Submission route
|
FILM
|
Specifications - See Editorial Department
|
25%
|
20/04/2026
|
MyUCA
|
Portfolio - Realisation
|
PDF - No Links
|
50%
|
27/04/2026
|
MyUCA
|
Report
|
PDF - No Links
|
25%
|
27/04/2026
|
MyUCA
|
INDICATIVE TEACHING & LEARNING METHODS
Lectures
Team Formation
Pitches
Workshops
Tutorials
Group Tutorials
Independent study & research
COMMUNICATION
Please remember to use your UCA student email account when contacting us and check your inbox regularly, as this will be our primary method of communication for all university-related matters. Additionally, be sure to stay engaged with myUCA, where important announcements about the unit will be posted, course materials can be found under the course section for this unit.
FILMING PROJECTS
You are expected to work with a high degree of professionalism in a key area (specialism). All students working on these projects will be expected to take an informed interest in all aspects of the production and engage in research into the subject, genre and form of the project as well as their role.
You will be assessed on your work in your major role and will also start engaging in your minor role.
The types of projects that you undertake will be wide and varied and include:
* Fiction Short Films (around 14 members, up to 12 minutes including credits)
* Non-Fiction (Alternative Practice) including documentaries, music videos, experimental films.
(These will be in small groups of can be an individual project.)
Major Roles/HoD roles - You can choose from are: Screenwriter, Director, Producer, Cinematographer,
Sound Recordist/Sound Designer, Production Designer/Costume, Editor. Writer/Director and Writer/
Producer are subject to tutor approval. (Other HoD roles are subject to tutor approval.)
Minor Roles - You can choose for your participation in a second project: 1st AD, 1st AC/Focus Puller,
Gaffer, Art Director, Production Manager, Script Supervisor, Boom Operator, Colour Grader. (Other minor roles will be dependent on tutor approval.)
OR
Individual Practice as Filmmaker alone, in pairs or as part of a small group of three (all major roles) as partof the Non-Fiction (Alternative Practice) option.
Process:
* Projects are Producer led — they will not be green-lit without a Producer.
* Production groups will form around pitched ideas to the whole cohort.
* The success of the group forming with the key roles in place and the feasibility of the project in terms of budget and logistics will be integral to the project going ahead.
* Realistic budgets, attainable locations, casting proposals, art department designs and lighting plans will also be considered.
To Consider:
* Recognise the professional, technical, and formal choices which realise, develop or challenge existing Practices.
* Recognise the possibilities and constraints involved in the production processes.
* Engage critically with major thinkers, debates and intellectual paradigms within the field and put them to productive use.
* Develop substantive and detailed knowledge and understanding in one or more designated areas of film.
* Organise and manage supervised, self-directed projects.
* Manage time, personnel, and resources effectively by drawing on, planning, organisational, project management and leadership skills.
* Deliver work to a given length, format, brief and deadline, properly referencing sources and ideas and making use, as appropriate, of a problem-solving approach.
* Consider and evaluate your own work in a reflective manner, with reference to academic and/or professional issues, debates, and conventions.
TERM 2 (26 January 2026- 25 May 2026)
This term your primary focus for the FMP will be on both production and post-production. You will be involved in two projects: one in a major Head of Department (HOD) role and one in a minor role. It is expected that you fully invest in both the production and post-production phases of these projects.
Additionally, tutorials and feedback sessions will be scheduled for all HODs to ensure ongoing support and development.
As Level 6 students, you are expected to manage your time effectively, balancing your project responsibilities with other assessments and meeting deadlines.
Engagement
You are expected to attend lectures, seminars, workshops, group tutorials, 1:1 tutorials as a part of your study program.
You should aim to arrive to any taught session 5 minutes early.
You are expected to sign a register for every session you attend which may include QR codes or sign in sheets.
Studying at Level 6
As this is the final year of your degree, you will be expected to develop your own approach/es to filmmakingand research outside of the scheduled sessions in line with the UK Common Credit Framework Level 6 assessment criteria expectations.
Through your work you should be able to evidence:
* Appropriate technologies, methods and processes are identified defined and described.
* Relevant knowledge and information is compared, contrasted, manipulated, translated and interpreted.
* Knowledge and information selected, analysed, synthesised and evaluated in order to generate creative ideas, practices, solutions, arguments or hypotheses.
* Appropriate materials and media are selected, tested, and utilised to realise and present ideas and solutions.
* Appropriate technologies, methods and processes are demonstrated.
* Ethical best practices
Marking Moderation
Internal Verification Process (Internal Verification)
Internal verification is one of the mechanisms by which the University assures the appropriateness, consistency, transparency and fairness of assessment. Internal verification must take place before the module marks are presented to the Progress and Award Boards. The Internal Verification Policy for Higher
Education has been informed by the UK Quality Code for Higher Education.
All assessment components are subject to internal verification, using one of the following methods:
a. double marking,
b. group or team marking, or
c. sampling.
Double marking
Two different members of staff assess the work and reach independent conclusions as to the mark to be awarded. Subsequently they meet to discuss the marks and agree a final mark. If no agreement is reached, a third marker may be appointed.
Group or team marking
For some assessment components, the mark is awarded by a group of staff, who consider each piece of work submitted collectively and agree on the mark. This is commonly used for exhibitions or displays of
Personal circumstances artwork. Where this method of internal marking is used, it will normally be used for the whole cohort taking a unit and provides a sufficient safeguard to mean that no further form of internal verification is required.
Sampling
A sample of marked work is reviewed by another staff member (i.e., other than the initial marker), to confirm that standards are appropriate, and assessment and grade criteria (where appropriate) have been applied.
This is the recommended method of IV for any cohorts over 15 students. Exceptions would be where double marking would support new members to the staff team or where double marking would form a moderation exercise to address previously identified marking issues or discrepancies.
External Examiner
External Examiners are assurers of standards and auditors of the assessment process. Their role is to assure the academic standards of awards at the University. Specifically, to confirm that:
a. The standards for the courses/awards are set and maintained at an appropriate level as described by the Sector Recognised Standards;
b. The standards for the courses/awards are comparable with similar courses/awards within the sector;
c. The structure and nature of the assessment permits students to demonstrate the standards
d. The processes for assessment, examination and the determination of awards are sound and fairly conducted; and
e. There is consistency between the University regulations and the Sector Recognised Standards.
The External Examiner and the Programme Director should check the mark profiles and satisfy themselves that the profile for each unit is appropriate.
The Progress and Award Board will be asked to confirm that appropriate internal verification has taken place in the units under consideration at the Board.
Form IV1 will be used to confirm and record the outcome of the internal verification exercise, signed by both the internal verifier and the Unit Leader.
Provisional marks will then be released to students
Resit Assessment
(For students referred by the Progress and Award Board after the first-sit assessment)
Some students may be required to undertake reassessment for this unit. If the Progress and Award Board decides you must resit, Campus Life will email you a formal notification outlining the decision, the submission deadline, and the precise requirements. Please read that communication carefully and keep it for reference.
Resit marking and Learning Outcomes
The resit is marked against the same Generic Grading Criteria (Level 6) and Module Assessment Criteria and carries the same weighting.. A pass requires an overall mark of 40%.
The maximum mark available for any unit reassessed by Resit will normally be the minimum pass mark if the unit is credit bearing, or ‘pass’ where it is not. If the Resit mark is lower than the original mark, the higher mark will stand.
*There are no ‘in year’ resits. Resits happen at the end of the academic year - not in time for the 2026 graduation date.
Time Management and Attendance
When you are not in a timetabled session, you are expected to be working independently in the studio or at home; this includes reading, researching, writing, designing, and reflecting on feedback. Altogether, you should plan for 20-25 hours per week across Semester1 (300 hours total for this 30 credit module).
How is engagement measured?
In this module, your engagement is evidenced by:
• Attendance
• Submission of formative tasks on time.
• myUCA Access (reviewing weekly materials on myUCA).
• Use of Support (attending drop-ins, research clinics, and accessibility labs). Mandatory Attendance You must attend all scheduled teaching and formative-assessment sessions. Attendance is taken at every lecture, workshop and critique. Unexplained non-attendance:
• May result in missed formative feedback and lower grades.
• Will be recorded in UCA’s digital attendance system. International students: UCA is legally required to report consecutive unexplained absences to the appropriate border authorities
Attendance Monitoring
• Staff will register attendance at every scheduled session.
Reporting Absence
You are able to self-certify for a maximum of 5 days per term. If you do not notify the University of your absence (self-certify), you will be marked as absent. After five days’ absence through self-certification, you must request authorised absence from your Programme Director if you are to continue to miss teaching, otherwise you will be marked as absent. For the regulations regarding self-certification relating to mitigating circumstances, please contact the unit leader.
If you cannot attend a scheduled session (e.g., due to illness or emergency), you must email your Module Lead ([email protected]) before the session. Fill in an Authorised Absence form if you are going to be away for more than 3 days. 3. Avoid missing sessions for work. Your manager needs to be briefed that your studies come first.
Please see the Engagement and Attendance Policy for more information.
Indicative Reading List
INDICATIVE READING LISTS1
Essential
1 Reading lists are indicative at the point of validation or periodic review. Any subsequent amendments are approved and published on myUCA
in accordance with the Reading Lists policy as maintained by Academic Services. This policy also forms part of Annex 5 of the Quality Assurance
Handbook.
10Cole, Jan (2010) Creative CV Guide. Farnham: University for the Creative Arts.
Baxter, Lucy (2017). Running a Creative Company in the Digital Age. Harependen UK: Oldcastle Books:
Creative Essentials
Connolly, Maeve (2009) The Place of Artists’ _Cinema, Space, Site and Screen. Intellect.
Cottrell, Stella. (2015). Skills for Success: Personal Development and Employability (3rd ed.) London:
Palgrave
Curtin, M. (Ed.) (2014) Distribution Revolution: Conversations about the Digital Future of Film and
Television. Oakland, CA: University of California Press.
Crisp, V. (2015) Film Distribution in the Digital Age: Pirates and Professionals. Basingstoke: Houndmills.
Dismore, J. (2010) TV: An Insider's Guide - How to be a Success in the TV Industry.
Evesham: Hothive Books.
Bresson, R. (1986) Notes on the cinematographer. London: Quartet Books
Potter, S. (2014) Naked cinema: working with actors. London: Faber & Faber
Other essential reading will be determined by your crew role and project
Directing
Essential:
Katz, S. D. (1991) Film directing shot by shot: visualizing from concept to screen. Studio City, CA: Michael
Wiese Productions in conjunction with Focal Press
Schell, H. (2017) Casting revealed: a guide for film directors. NYC: Routledge
Tarkovsky, A. A. (1998) Sculpting in time: reflections on the cinema. University of Texas Press.
Weston, J. (1996) Directing actors: creating memorable performances for film and television. Studio City,
Calif: M. Wiese Productions.
Recommended:
Screenwriting
Erickson, Gunner, Tulchin, Harris and Halloran, Mark (2010) The Independent Film Producer's Survival
Guide: A Business and Legal Sourcebook. Schirmer.
Kallas, Christina (2010) Creative Screenwriting: Understanding Emotional Structure. Palgrave
Macmillan. Mackendrick, A. (2004) On Filmmaking. London: Faber.
McKee, R. (1999) Story: Substance, Structure, Style and the Principles of Screenwriting. London: Methuen.
Producing:
Potter, C. (1990) Image, sound and story: the art of telling in film. London: Secker and Warburg.
Ryan, Maureen (2010) Producer to Producer: A Step by Step Guide to Low Budget Independent Film
Producing. Michael Weise.
Worthington, Charlotte (2009) Producing: Basics of Filmmaking. AVA Publishing.
11Yorke, J. (2014) Into the woods: how stories work and why we tell them. London, England: Penguin Books
Producing/Production Management/Location Management
Essential:
Ryan, M. A. (2024) Producer to producer: a step-by-step guide to low-budget independent film producing.
Studio City, Calif: Michael Wiese.
Vachon, C. and Edelstein, D. (1998) Shooting to kill: how an independent producer blasts through the
barriers to make movies that matter. New York: Avon Bks.
Recommended:
Cleve, B. (2006) Film production management. (3rd ed) London: Focal.
Gates, R. (1999) Production management for film and video. (3rd ed) Oxford: Focal
Maier, R. G. (1994) Location scouting and management handbook: television, film, still photography.
Boston: Focal Press
Patz, D. S. (2010) Film production management 101: management and coordination in a digital age. (2nd
ed) Studio City, Calif: Michael Wiese
[Journal] COVID-19 Production: Impact and future-proofing report (s.d.) At: https://edition.pagesuite
professional.co.uk/html5/reader/production/default.aspx?pubname=&edid=567330aa-5388-413a-a99f
f0d89a7b7449
Sound
Altman, R. (1992). Sound Theory, Sound Practice. AFI Film Reader. Routledge.
Beck, J & Grajeda, T. (2008). Lowering The Boom: Critical Studies In Film Sound. University Of Illinois
Press
Chion, M. (1994). Audio-Vision Sound on Screen. Columbia University Press
Chion, M. (1999). The Voice in Cinema. Columbia University Press
Chion, M. (2009). Film: A Sound Art.Columbia University Press
Everest, F A. (2005). Critical Listening Skills for Audio Professionals. (2ndEd), Course Technology Inc.
Holman, T. (2002). Sound for Film and Television. (2ndEd), Focal Press
Izhaki, R. (2007). Mixing Audio: Concepts, Practices and Tools.Focal Press
Lo Brutto, V. (1994). Sound on Film: Interviews with Creators of Film Sound.Praeger
Mierzwa, P (2021) Behind the Sound Cart: A Veterans Guide to Sound on the Set. LA: Ulano Sound
Services
Purcell, J. (2007). Dialogue Editing for Motion Pictures: A Guide to The Invisible Art. Focal Press
Rose, J. (2008). Audio Postproduction for Film and Video. Focal Press
Sonnenschien, D (2001) Sound Design:The Expressive Power of Music, Voice and Sound Effects in
Cinema. Michael Weise Productions
Talbot-Smith, M. (1995). Sound Engineers Pocket Book.Focal Press
Viers, R. (2008). The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects.
Michael Weise Productions
Weis, E & Belton, J. (1985). Film Sound: Theory and Practice. Columbia University Press
Yewdall, D L. (2011) The Practical Art of Motion Picture Sound(4thEd), Focal Press
• [Article] Interview with Sound Designer Paul Davies Special about his work with Director Lynne
Ramsay (s.d.) At: https://designingsound.org/2011/09/16/paul-davies-special-the-lynne-ramsay
collaboration-exclusive-interview/
Editing
Essential:
Murch, W. (2001) In the blink of an eye: a perspective on film editing. (2nd ed) Los Angeles, Calif: Silman
James Press.
Orpen, V. (2003) Film editing: the art of the expressive. Vol. 16. London: Wallflower.
Recommended:
Crittenden, R. (2006) Fine cuts: the art of European film editing. Oxford: Focal Press
Ondaatje, M. (2008) The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury
Publishing PLC.
[Journal Article] Interview with editor Claire Atherton (s.d.) At: https://sabzian.be/text/living-matter
Clark, J. (2011) Dream Repairman, Adventures in Film Editing. LandMarc Press.
Reisz, K. & Millar, G. (2009) The Technique of Film Editing. (2nd Ed.) London: Focal Press.
VFX:
Foster, J. (2014) The Green Screen Handbook: Real-World Production Techniques. Focal Press.
Malley, B. (2014) Adobe Master Class: Advanced Compositing in Photoshop: Bringing the Impossible to
Reality with Bret Malley. Adobe.
Wright, S. (2010) Digital Compositing for Film and Video. Focal Press.
Cinematography
Essential:
Brown, B. (2012) Cinematography: theory and practice: image making for cinematographers and directors.
(2nd ed) Amsterdam: Elsevier/Focal Press.
Recommended:
Bowen, C. J. (2018) Grammar of the shot. (Fourth edition) New York, New York: Routledge.
Brown, B. (2019) Motion picture and video lighting for cinematographers, gaffers and lighting technicians.
(Third edition) New York, NY: Routledge.
Bergery, B. et al. (2002) Reflections: twenty-one cinematographers at work. Hollywood, Calif: ASC.
Ettedgui, P. (1998) Cinematography. Crans-Pres-Celigny, Switzerland: RotoVision
Katz, S. D. (1991) Film directing shot by shot: visualizing from concept to screen. Studio City, CA: Michael
Wiese Productions in conjunction with Focal Press.
Production Design
Essential:
Halligan, F. (2012) Production design. Lewes: Ilex.
Barnwell, J. (2004) Production design: architects of the screen. London: Wallflower.
Recommended:
Ettedgui, P. (1999) Production design and art direction. Focal Press
Brutto, V. (2002) The Filmmakers Guide to Production Design. Allworth Press.
Preston, W. (1994) What an Art Director Does: An Introduction to Motion Picture Production Design.
Silman- James Press.
Casting
Essential:
Catliff, S. and Granville, J. (2013) The casting handbook: for film and theatre makers. London: Routledge.
Recommended:
Schell, H. (2017) Casting revealed: a guide for film directors.
Bishop, N. (2015) Auditioning for film and television: secrets from a casting director. (Second edition)
London: Bloomsbury
[Article] Ann Lee (2020) '‘Mike Leigh’s office almost went up in flames’: casting directors tell all'
In: Guardian At: https://www.theguardian.com/tv-and-radio/2020/jul/15/mike-leighs-office-almost-went-up-in flames-casting-directors-tell-all?CMP=Share_iOSApp_Other
[Article] Sophie Elmhirst (2018) 'From Game of Thrones to The Crown: the woman who turns actors into stars' In: Guardian At: https://www.theguardian.com/news/2018/apr/26/game-of-thrones-the-crown-nina gold-casting-director
Documentary
Essential:
Balsam, E. Peleg, H. (2016) Documentary Across Disciplines. MIT Press.
Bruzzi, S. (2000) New documentary: a critical introduction. London: Routledge.
Cousins, M. et al. (2006) Imagining reality: the Faber book of documentary. (Rev. ed) London: Faber.
Recommended:
Renov, M. and American Film Institute (1993) Theorizing documentary. London: Routledge.
Quinn, J.M.V. (ed.) (2015) Adventures in the lives of others: ethical dilemmas in factual filmmaking. London:
I.B. Tauris & Co
Individual Filmmaking
Essential:
MacDonald, S. (2001) The garden in the machine: a field guide to independent films about place. Berkeley,
Calif: University of California Press.
Rascaroli, L. (2009) The personal camera: subjective cinema and the essay film. London: Wallflower.
Recommended:
Corrigan, T. (2011) The Essay Film: from Montaigne, after Marker. New York: Oxford University Press
Daniels, J., McLaughlin, C., Pearce, G. (2013) Truth, Dare or Promise: Art and Documentary Revisited. Cambridge Scholars Publisher
Keathly, C., Mittel, J. Grant, C (2020) The Videographic Essay: Practice and Pedagogy. http:// videographicessay.org/works/videographic-essay/index
Marks, L. U. (2000b) The Skin of the Film: intercultural cinema, embodiment, and the senses. Durham:Duke University Press.
MacDonald, S. Avant-Doc: Intersections of Documentary and Avant-Garde Cinema. Oxford University Press
Module’s Approach to Equality, Inclusivity, Diversity and Accessibility
We believe that UCA, all workplaces, and society generally will benefit from an inclusive environment.
Principle
|
How it is embedded in this unit
|
What you must do
|
Equality of Opportunity
|
All students can participate equally and fairly.
|
Each of us is responsible for ensuring this.
|
Inclusive Curriculum
|
Our faculty, our lectures and students aim to represent diversity and inclusivity.
|
The lecturers preparation for the course is with this in mind. But we depend on feedback from the students as well.
|
Diverse Representation
|
The University aims to ensure diverse curriculum and faculty.
|
UCA standards state this is their goal.
|
Accessibility by Design
|
The assessments and modules are designed to consider inclusivity and accessibility.
|
Tutor hours and academic support contacts are in place.
|
Reasonable Adjustments and Support
If disability, neurodivergence, chronic illness or caregiving responsibilities affect your study, contact [email protected] as early as possible. An Individual Learning Plan (ILP) can approve extra time, alternative formats, or assistive-tech training. Seminar norms (e.g., hand-raising, captioned Teams sessions) flex to ILP requirements.
Inclusive Classroom Norms
• We invite pronoun sharing but do not require disclosure.
• Use person-first or identity-first language as individuals indicate (“disabled person” vs “person with a disability”).
• Debate ideas, not identities; respect lived experience as valid evidence alongside scholarship.
Continual Improvement
We invite student feedback and make changes that reflect student experience while maintaining academic standards.
Academic Integrity & AI-Use Policy
What is Academic Integrity?
At UCA, academic integrity is defined as “demonstrating honest and moral behaviours when researching, developing, producing, submitting or publishing academic work.” This means:
• Producing your own original work – you may only take credit for what you personally create, and each submission must be new, not recycled.
• Referencing fully and correctly (UCA Harvard style) so all sources, including any legitimate use of AI
tools, are transparently acknowledged.
• Acting honestly and responsibly – data must be truthful, research ethical, and you must protect your work from misuse.
Any action that gives you or someone else an unfair advantage, such as plagiarism, collusion, commissioning work from others, or undisclosed AI-generated content, is treated as academic misconduct and investigated under the university’s Academic Misconduct Regulations.
For further information, please see UCA’s Academic Misconduct Regulations and Procedures here.
What is plagiarism?
Plagiarism is presenting someone else’s work, ideas, or words as your own, without proper acknowledgement. This includes:
• Copying text from a source without citing it.
• Paraphrasing someone else’s work without referencing.
• Reusing your own previously submitted work (self-plagiarism) without permission.
What is collusion?
Collusion is when two or more students work together inappropriately on work that is meant to be done independently, and one or more of them submits it as their own.
Examples include:
• Sharing written drafts and then submitting very similar work.
• Working jointly on a project that was supposed to be done alone.
What is commissioning work from others?
Commissioning is getting someone else to complete all or part of your work on your behalf, and submitting it as if it were your own. This includes:
• Paying a person or company to write your assignment (sometimes called contract cheating).
• Asking a friend or family member to complete or rewrite your work.
What would be classed as undisclosed AI-generated content?
Undisclosed AI-generated content is when you use generative AI tools (like ChatGPT or Midjourney) to produce work or ideas and do not acknowledge this use.
This includes:
• Submitting writing, code, or images generated by AI without referencing or explaining how you usedthe tool.
• Letting AI fully generate your assignment without critical engagement or original input.
At UCA, you must clearly state if and how you’ve used AI, following the guidance provided in your module brief or course handbook.
What is UCA Harvard Referencing?
Harvard Referencing is the method by which you acknowledge using someone else’s writing, work, or ideas in your own academic writing while studying at UCA. Every submission within your portfolio must be compliant with UCA Harvard Referencing.
You can find UCA’s Harvard Referencing Guide here.
What are citations?
Citations are used in the body of your writing, in speech or on-screen to show when you have referred to
someone else’s writing, work or ideas. They usually consist of the author’s surname, year of publication,
and page number (where applicable) and are contained within brackets. Each of your citations should link
to a corresponding entry in your bibliography. in-text citation Example - (Wenger, 1991)
What is a bibliography?
A bibliography is a list of all the sources that you used or consulted to complete your submission. The bibliography should be arranged in alphabetical order and contains more detail on your sources, including how you accessed them. Your bibliography should correspond to the citations found within the body of your work.
What about my images?
If you use images you will also need to reference them separately using captions and a list of illustrations.
Why is referencing important?
Making sure that you accurately cite and reference the writing, work and/or ideas produced by somebody else is an essential part of academic writing. Here are some reasons why it is so important -
• Avoid plagiarism. Using citations and referencing accurately will help you avoid accusations of plagiarism because it gives you a means to fully acknowledge your sources.
• Support your argument or claim. Referencing other authors in your work demonstrates that your argument is based on existing knowledge and helps demonstrate that you have carried out appropriate research.
• Demonstrate your honesty & integrity. As a student at UCA you are expected to comply with student regulations and, as a future creative professional, referencing accurately is a way to demonstrate your professionalism, honesty and integrity.
• Demonstrate the breadth of your research. Your referencing allows you to show what research you have done while completing your assignment.
• Source checking. Your tutors will be interested to see what kind of sources you have used, and your referencing allows other people to do this too; this is all part of good academic practice.
Using Artificial Intelligence (AI) in my work
The University supports the ethical and responsible use of AI technologies in the learning experience, including tools such as ChatGPT, Dall-E, Midjourney, Sora or Firefly, as well as Microsoft CoPilot, Grammarly and Quillbot. These technologies can enhance your learning, help to explore or visualise new ideas and concepts; support your research; help with translation, assessment planning or proof your written copy.
Any use of AI must be carefully considered within the following criteria;
- Work produced by AI cannot be presented as your own and it must be cited. This is stated in the University for the Creative Arts Academic Misconduct regulation, Section 1.12(h): The students may gain an unfair advantage by using AI applications (e.g. ChatGPT) with the intent of presenting the work created by the app as your own’.
- Any AI produced work included in your submission must be referenced. You will need to use the Harvard Reference Scheme and also state the prompt used to generate the relevant work in the bibliography reference.
- Use of AI must be approached critically. Generative AI has been found to often produce factually inaccurate materials, such as citations to research papers or articles that do not exist. It is therefore essential that you fact-check all work produced by AI. In critically analysing AI produced materials there are a range of further questions that you will need to consider such as data or algorithmic bias, along with issues of intellectual property that includes uncredited use of open source data or ‘web scrapes’.
- There should be an appropriate use of AI in your final submission. It is important to consider how you are using AI in your final submission. AI can be utilised ,appropriately to achieve specific tasks or goals, such as visualising a product for which you have developed the concepts yourself, or as a tool to support with writing styles, grammar and spelling. Including a brief summary that explains how you used AI, along with a reflection on its usefulness and the challenges you encountered, can provide valuable insight into your approach.
If you are unclear about using Generative AI or if you have any further questions, please contact your Module Lead who will be happy to help. There is also more support here.