FORM B Course Specification
Name of final award: BA (Hons) Practical Filmmaking (e.g. FdA / FdSc / BA (Hons) / Dip HE Practical Filmmaking BSc (Hons) / MSc) Cert HE Practical Filmmaking BA (Hons) Film & Digital Cinematography Cert HE Cinematography
Course title: Practical Filmmaking Course leading to awards as named above e.g. (Digital Media Arts)
Level: 4, 5 and 6 Credits: 360
Exit awards, level and BA Hons (360) credits: Dip HE (240) (where applicable) Cert HE (120)
School: Ealing School of Art, Design and Media
Field/Subject: Media
Academic Partners: Met Film School (where applicable)
Document version: 1
Date document completed: 28.04.15
Document completed by: Joseph Hepworth
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1. Awarding body/Institution University of West London
2. Teaching institution Met Film School
3. Admissions criteria
Below is the application process for:
18 to 20 Year Olds (UK, EU & Non EU students) o All enquiries pertaining to the BA program will be fielded by the MFS Admissions team. Anybody approaching UWL directly will be directed to the MFS. o Students aged 18-20 will be directed to apply through UCAS (www.ucas.com) as their first step. o Students will be required to show that they have achieved a minimum of 160 points at A Level or an equivalent academic qualification. o Once the UCAS application has been received, the MFS enrolments department will approve any applications and successful candidates will be invited to submit a secondary application directly to MFS. o Once secondary applications have been reviewed, the MFS will invite students to a formal interview at the MFS. o Applicants will be encouraged to bring to interview a creative project they have worked on to supplement their application material.
Mature Students o Mature students are aged 21 years or over on the day the course starts. o The application process will be identical for mature students apart form the entry requirements. o Mature students are not required to provide any evidence of academic qualifications and will be judged based on the UCAS & MFS application and the subsequent interview.
Accreditation of Prior Learning (APL) leading to Advanced Standing o Students who have studied before or hold a professional qualification may be able to start at a stage of the course later than the normal entry point or get exemption from certain modules, so reducing the duration of the course. This is also known as Advanced Standing. o Students returning to complete the BA Course after exiting Met Film School with a Cert HE or Dip HE must also apply through the APL process. o Met Film School APL applications are handled by the Course Leader (Director of Undergraduate Programmes), in line with University of West London regulations.
Interviews o Interviews will be conducted by a member of the Admissions team. o Phone interviews will be conducted for students unable to visit the school.
IELTS Score for International 6.5 Students
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4. Codes UCAS Code A W600, 4R02 UCAS Code B JACS Code Other University code: T40 Campus code: E
5. Professional, Statutory and Regulatory Body accreditation (if applicable)
N/A
6. Career and progression opportunities
Career Progression
The Course is designed to give students a broad range of generic skills, ranging from analytical thinking to communication, negotiation, and teamwork, which will position them well for the possibility of employment across all industries. In addition, the intense filmic experience and study of a broad range of creative, technical and industry skills will equip students on the Practical Filmmaking Course with the crucial foundational knowledge to compete in the market for new entrant work in todays creative industries.
The close industry contacts of the Met Film School and professional credentials of its teaching staff demonstrate direct industry involvement in the design and delivery of the Practical Filmmaking Course.
Our Graduate Opportunities Programme MetGO supports graduates in finding their roles in the industry, promoting student work in film festivals and elsewhere, and tracking employment and successes.
Academic Progression
On graduation, students also have the opportunity for advancement to a higher professional qualification. As well as recruiting to MSF’s own comprehensive offer of MA Courses, graduates have also gone on to further study at the National Film & Television School (NFTS); London Film School (LFS); American Film Institute (AFI); University College London (UCL); University of Southern California (USC); and New York University (NYU).
7. Location of delivery Met Film School - London Met Film School – Berlin
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8. Mode of delivery (Copy and paste this symbol - )
Full time Part time Distance learning Work-based learning*
Other If other, please specify: Intensive Two Year and Three Year Options
*Work-based learning - if the course includes work-based learning elements, please specify below: a. Is employment in a particular work role necessary to complete assessments? b. Are work placements an essential part of the course?
N/A
9. Planned course duration Two Year and Three Year Routes
10. Sequencing within the academic calendar (Copy and paste this symbol - )
September only start February only start September and February start
Other If other, please specify:
11. First date of delivery of the course (month and year) October 2015: First Delivery of Practical Filmmaking Course
12. Language of study English
13. Links with External Organisations/Industrial Partners
The Met Group MFS has strong industry links through its integrated production and post-production companies, Met Film Production and Met Film Post.
o Met Film Production produces feature length films and documentaries for the international marketplace. Over the past seven years, Met Film Production has produced 9 films, including five documentaries. Met Film Production is currently in post production on the latest feature film, Chasing Satellites, directed by Jim Loach; the feature length documentary about the founding of Greenpeace, How to Change the World, premiered at this year’s Sundance Film Festival.
Form B – Course Specification Template – Sept 2014 Page 4 of 24 o Met Film Post is a cutting edge post-production facility which completes picture and sound work on professional film and television productions for Met Film, external clients, and selected Met Film School productions – including BA feature films, BA and MA student films competing for festival recognition, showreels and compilations.
The symbiotic relationship between all three companies works to the benefit of students in many ways, including student access to working professionals as tutors and mentors on a formal and informal basis; the opportunity to work on professional “live” projects brought into the teaching environment; cutting edge technology; and professional networking.
Partners And Core Relationships
The BA Practical Filmmaking Course design incorporates the latest industry developments in line with the broader discussion about the sustainability of the UK screen industries. In line with the government’s White Paper (2003) recommendation that higher education should strengthen its links with industry, Met Film School is developing this Course in consultation with industry and employer, including our diverse pool of tutors, who are leading industry practitioners with teaching experience across the globe and the Met Film School’s Advisory Board which includes the following people: leading directors Stephen Frears and Sarah Gavron; Cameron McCracken (Managing Director of Pathe); Michael Gubbins (former editor of Screen International); Nik Powell (NFTS Director); Thomas Hoegh (Chairman of Arts Alliance); John Woodward (former Director of UK Film Council), and others.
In 2012, Met Film School was voted prestigious membership in CILECT (Centre Internacional de Liaison des Ecoles de Cinéma e de Télévision), the global organization of leading film and television schools, for its exceptional level of educational provision. Founded in 1955, CILECT now comprises over 160 audio- visual educational institutions from sixty countries across every continent. CILECT remains committed to maintaining the highest possible educational standards of audio-visual teaching and learning in its member schools, and strives to be a key factor in the contribution to the major cultural and communication processes around the world.
The School has also recently established a partnership with YouTube that will directly inform what is taught and how it links into the biggest video platform in the world.
Creative Skillset
We have an ongoing relationship with Creative Skillset. Recently, we have been successful in securing a bid from Skillset for a facility upgrade that includes the building of a new screening cinema at the school. The BA (Hons) Practical Filmmaking has also achieved a Skillset Tick, which is an indication of quality and industry relevance. Only courses with the strongest links to industry and that keep up with the rapid pace of change in industry can achieve this kite mark of quality.
Industry Links
Met Film School engages with our industry partners and relationships in a variety of ways. Industry professionals teach on our accredited courses, and we invite distinguished filmmakers and media professionals to give master classes at the school on a regular basis. Past guests have included David Yates (Harry Potter franchise), Asif Kapadia (Senna), Judy Morris (Happy Feet, Babe-Pig in the City), Chris Morris (Brass Eye, Four Lions), and documentary filmmaker Kim Longinotto (Pink Saris).
We also launched an event series, entitled In Conversation… where industry guests speak informally, talk-show style, about their career experiences to an audience of students, staff, and faculty. Recent guest speakers have included Pawel Pawlikowski (Oscar winning Ida), James Marsh (The Theory of Everything), Sandra Hebron (former Creative Director of the London Film Festival), Frank Spotnitz (Executive Producer of the X-Files), Noel Clarke (Dr. Who, Kidulthood), Paul Webster (Atonement, Motorcycle Diaries, Locke), Andy Serkis (Lord of the Rings trilogy), and Stephen Frears (The Queen, Dirty Pretty Things);
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14. Student support arrangements
Met Film School
Students on the BA (Hons) Practical Filmmaking Course will have access to a variety of support services during their course of study. In addition to the Practical Filmmaking Course Leader, each student on the course will have access to tutorial support from within the wider Faculty and teaching. This tutorial support gives students the opportunity to discuss academic progress, learning and career objectives with relevant teaching staff.
Additionally, there are various forms of wellbeing and learning support available for students on an individual as needed basis. These services and Courses are coordinated through the office of the Director of Student Affairs and Postgraduate Programmes. In addition, Met Film School works regularly with local, external organisations such as Dyslexia Action, Mind, and Metanoia to provide resources to students and training to teaching staff. We have recently hired an externally qualified (BACP) therapist to work directly with students on an as needed, confidential basis.
All students on the course will be invited to participate in a Pre-Induction Online Course delivered via Moodle, which provides pre-course information and enables students to become familiar with our VLE platform. In addition, students will also be able to contribute to online discussion forums on selected screen content and readings. During the first week of the Course students will also attend a formal induction to Met Film School where they will be given all relevant course materials, as well as an introduction to school resources, staff and relevant departments.
There will be scheduled BA Student Course Meetings during each phase of the BA (Hons) Practical Filmmaking Course (3 times per year). The purpose of these meetings is to share information about the course, garner student feedback on specific aspects of the course, address any issues or concerns and develop an action plan around the meeting outcomes. BA Practical Filmmaking students will also be able to elect one member of their cohort to sit on the Undergraduate Student Representative Committee, which meets monthly, as well as the MFS-wide Student Representative Forum, which meets twice a year and involves student reps from each accredited course.
University of West London Student Support The following student support services at University of West London are available for undergraduate students:
o Careers and Employment Services o Advice Team o Disability Team o Information and Funding Team o Accommodation Team o Chaplaincy o Counselling o Students’ Union
Further course specific information: Additional information regarding undergraduate student support can be found in the BA (Hons) Practical Filmmaking Course Handbook, which is available on Moodle.
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15. Aims of the course Include reference to how the curriculum will promote sustainability and graduate attributes
The course aims to enable students:
o To be technically assured in all aspects of production and postproduction for film and related media
o To be able to develop, communicate and deliver creative ideas, both working alone and collaboratively as part of a team, displaying a sustained awareness of the ethical implications of film production and working practice
o To engage critically with contemporary industry practice in all its manifestations, recognising how considerations of business and exploitation impact on production, and how different disciplines and roles relate to one another
o To make active and informed use of the theoretical frameworks and contemporary cultural, political and ethical perspectives relevant to their particular discipline
o To become reflective practitioners, dedicated to improving their practice through on-going critical awareness and analysis, so acquiring a systematic understanding of the relationship between theory and practice
o The ability to apply their knowledge, skills and understanding of all aspects of production and postproduction for film and related media, in the creation of completed artefacts, with an assured handling of tools and techniques consistently and ethically delivered using best practice to a standard commensurate with professional work.
Cert HE Practical Filmmaking further aims to enable students to:
o To produce and exhibit work in the short film, episodic series and/or documentary formats as part of a graduate showreel o To define and demonstrate core practical skills within a specialist area of filmmaking
Dip HE Practical Filmmaking further aims to enable students to:
o Clearly define filmmaking genres and demonstrate the creative and technical skills required to produce work relevant to these specialist formats o To demonstrate advanced practical skills in film production as both an individual and as a member of a team
BA Practical Filmmaking further aims to enable students to:
o Develop a full range of specific creative, editorial and technical skills applicable to all aspects of film production o Acquire in-depth knowledge of the film industry, including inter alia the influence on such factors as the development, production, financing, distribution and successful commercialisation of film o Achieve a critical appreciation of the theoretical and historical contexts of the film industry that clearly informs their practice
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16. Content of the Course The BA (Hons) Practical Filmmaking Course consists of two-year and three-year routes as well as a Cinematography specialisation. Students on the Cert HE will undertake 6 modules, on the Diploma 12 modules and those of you on the BA (Hons) Practical Filmmaking will complete 17 modules on the course. Throughout, students will be assessed on both written and practical coursework. BA Students opting for the Cinematography specialisation will exit with a BA (Hons) in Film and Digital Cinematography and undertake a total of 16 modules (14 x 20 credit modules + 2 x 40 credit modules).
Level Progression
Level 4 offers a foundation in the key concepts and skills required in the telling of screen stories and the historical and industrial contexts with which to utilise students’ knowledge and skills to maximum effect.
Level 5 allows students the opportunity to integrate the knowledge and skills from Level 4 by applying them to a range of different forms, formats and genres in order to deepen their understanding.
Level 6 provides students the time and space to explore their own creativity and synthesise their knowledge and skills through their own practice. By allowing them to specialise in specific areas and producing career focused work, it acts as a stepping stone into the industry.
Teaching Blocks
Each level divided into two blocks of teaching, designed to take them through a range of forms and formats as they progress through the course. Each block consists of subject specific teaching before allowing them to integrate the knowledge and skills learnt through a collaborative production. The six blocks are:
• Visual Storytelling • Fiction • Factual • Episodic • Long Form • Graduation
Subject Areas
Running through the Practical Filmmaking Course are five inter-related Subject Areas:
• Ideas & Story • Character & Performance • Image & Sound • Post-Production • Screen Business & Integrated Production
The first four subjects are consist of three modules each, two core at Level 4 and 5 and an optional specialisation at Level 6. Each module not only deepens their knowledge and understanding of that subject area but also relates to the form and format of that particular teaching block.
Integrated Productions
Screen Business and Integrated Productions, which occur at the end of each block, not only develop students’ knowledge and understanding of screen business as related to the specific form and format, but also allows them integrate their knowledge and skills through the practical application.
Students will receive tutorial support in the development, production and post-production of projects and work collaboratively as a team in the production of screen stories.
Form B – Course Specification Template – Sept 2014 Page 8 of 24 Creative Development & Graduation
The final two modules on the BA (Hons) are designed to allow students to focus on their career goals and plan a clear strategy for achieving those targets. This exploration of their relationship to the Screen Industries, which has been developed throughout the Screen Business modules, culminates in the production of a graduation project that provides them with the best opportunity for finding employment after graduation.
Two-Year and Three-Year Routes and Cinematography Route
Two-Year Route: Students on the intensive two-year course will complete Level 4 and the first teaching block of Level 5 in their first year. The second teaching block and all of Level 6 will be completed in their second year.
Three-Year Route: Students on the three-year course will have an equally intensive experience in each teaching block, but will have a longer summer holiday in order to provide time for rest, reflection and career development opportunities.
Cinematography Route: Students on the Cinematography route will follow the same course structure as the practical filmmaking students but will undertake intensive cinematography modules at each Level and a specialised Screen Business and Integrated Production module targeted solely at cinematographers.
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17. Module list and pre-requisites Module Title Code Level Credits Pre-requisites Core Optional Ideas & Story 4 20 N/A Image & Sound 4 20 N/A Performance 4 20 N/A Screen Business & Integrated 4 20 N/A Production (fiction) Post-Production 4 20 N/A Screen Business & Integrated 4 20 N/A Production (short form) Cine Bootcamp 4 20 Cine Pathway Screen Business & Integrated 4 20 Cine Pathway Production I (Cine) Screen Business & Integrated 4 20 Cine Pathway Production II (Cine) Ideas & Story II 5 20 N/A Post-Production II 5 20 N/A Screen Business & Integrated 5 20 N/A Production (factual) Performance II 5 20 N/A Image & Sound II 5 20 N/A Screen Business & Integrated 5 20 N/A Production (episodic) Cine Intermediate 5 20 Cine Pathway Screen Business & Integrated 5 20 Cine Pathway Production III (Cine) Screen Business & Integrated 5 20 Cine Pathway Production IV (Cine) Screenwriting 6 20 N/A Directing 6 20 N/A Cinematography 6 20 N/A Post-Production 6 20 N/A Screen Business & Integrated 6 20 N/A Production (long-form) Advanced Cine 6 20 Cine Pathway Screen Business & Integrated 6 20 Cine Pathway Production V (Cine) Creative Development 6 20 N/A Graduation Project & Capstone 6 40 N/A
Form B – Course Specification Template – Sept 2014 Page 10 of 24 18. Course Learning Outcomes
Level 4 Relevant modules
A 4.1 Develop awareness of contemporary industry practice in all Ideas & Story I its manifestations, recognising how the roles involved in Knowledge and Image & Sound I production and distribution impact on their work understanding Character & Performance 4.2 Develop awareness of the theoretical frameworks and I contemporary cultural, political and ethical perspectives Post-Production I relevant to the production of TV and Film media Screen Business & Production I & II Cinematography 4.1: Develop an understanding and appreciation Cine Bootcamp of the different roles within the camera department Screen Business & Production I & II (Cine)
B 4.3 Demonstrate skills of critical awareness and analysis, Ideas & Story I creating an understanding of the relationship between Intellectual skills Image & Sound I theory and practice Character & Performance 4.4 Develop the skills to communicate and deliver creative I ideas in the appropriate format both individually and in Post-Production I collaboration with others Screen Business & Production I & II Cinematography 4.2: Produce coherent visual imagery based on Cine Bootcamp research and critical analysis Screen Business & Production I & II (Cine)
C 4.5 Develop technical skills in all aspects of production and Ideas & Story I postproduction for film and related media Subject practical Image & Sound I
skills 4.6 Develop basic knowledge, skills and understanding of all Post-Production I aspects of production and postproduction for film and Screen Business & related media, applied to the creation of completed Production I & II artefacts, with a competent handling of tools and techniques Cine Bootcamp consistently and ethically delivered using best practice Screen Business & Cinematography 4.3: Display a critical understanding of how Production I & II (Cine) creative skills are brought to bear on the production of moving images
D 4.7 Demonstrate a high degree of discipline and reliability as Ideas & Story I evidenced by attendance, punctuality, fulfilment of Key / Transferable Image & Sound I obligations to fellow students skills Character & Performance 4.8 Express and convey ideas, communicate effectively, give I and received feedback constructively, work collaboratively Post-Production I as part of a team, displaying a sustained awareness of the Screen Business & ethical aspects of interpersonal communication Production I & II
Cine Bootcamp 4.9 Display strong ability to manage, prepare, and organise personal projects and motivate and mobilise others in the Screen Business & successful execution of said project or projects within Production I & II (Cine) constraints of time and budget
4.10 Display a sustained initiative to analyse and resolve problems appropriately and effectively, putting solutions into action, and fully utilising the resources and information available
4.11 Demonstrate an ability to work creatively by having internalised the technical processes, theoretical underpinnings and cultural and historical references used in creating moving images
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Level 5 Relevant modules
A 5.1 Demonstrate competence in contemporary industry practice in Ideas & Story II all its manifestations, recognising how the roles involved in Knowledge and Image & Sound II production and distribution impact on their work understanding Character & 5.2 Demonstrate critical awareness of the theoretical frameworks Performance II and contemporary cultural, political and ethical perspectives Post-Production II relevant to their particular discipline Screen Business & Production III & IV Cinematography 5.1: Develop an understanding and appreciation of Cine Intermediate the role of the Director of Photography, and the roles of the crew who will be working for them Screen Business & Production III & IV (Cine)
B 5.3 Improve their practice through ongoing critical awareness and Ideas & Story II analysis, applied to clarifying the relationship between theory Intellectual skills Image & Sound II and practice Character & 5.4 Develop, communicate and deliver creative ideas, both working Performance II alone and collaboratively as part of a team, displaying Post-Production II awareness of the ethical implications of film production and Screen Business & working practice Production III & IV
Cinematography 5.2: Employ visual storytelling devices in order to Cine Intermediate produce work with context and meaning Screen Business & Production III & IV (Cine)
C 5.5 Display technical skills in all aspects of production and Ideas & Story II postproduction for film and related media Subject practical Image & Sound II
skills 5.6 Develop knowledge, skills and understanding of all aspects of Post-Production II production and postproduction for film and related media, Screen Business & which is applied in the creation of completed artefacts, with a Production III & IV handling of tools and techniques consistently and ethically Cine Intermediate delivered using best practice to a high standard Screen Business &
Cinematography 5.3: Develop skills in digital cinematography, with Production III & IV (Cine) an understanding of the importance of composition, lighting and grading within narrative storytelling clearly evident in their work
D 5.7 Demonstrate a high degree of discipline and reliability as Ideas & Story II evidenced by attendance, punctuality, fulfilment of obligations Key / Transferable Image & Sound II to fellow students skills Character & 5.8 Express and convey ideas, communicate effectively, give and Performance II received feedback constructively, work collaboratively as part Post-Production II of a team, displaying a sustained awareness of the ethical Screen Business & aspects of interpersonal communication Production III & IV
Cine Intermediate 5.9 Display strong ability to manage, prepare, and organise personal projects and motivate and mobilise others in the Screen Business & successful execution of said project or projects within Production III & IV constraints of time and budget (Cine)
5.10 Display a sustained initiative to analyse and resolve problems appropriately and effectively, putting solutions into action, and fully utilising the resources and information available
5.11 Demonstrate an ability to work creatively by having internalised the technical processes, theoretical underpinnings and cultural and historical references used in creating moving images
Form B – Course Specification Template – Sept 2014 Page 12 of 24 Level 6 Relevant modules
A 6.1 Engage critically with contemporary industry practice in all Screenwriting its manifestations, recognizing how considerations of Knowledge and Cinematography business and exploitation impact on production, and how understanding different disciplines and roles relate to one another Directing Advanced Post 6.2 Make active and informed use of the theoretical frameworks Production and contemporary cultural, political and ethical perspectives Screen Business & relevant to their particular discipline Production V
Cinematography 6.1: Utilise a precise understanding and Creative Development appreciation of the role of the Director of Photography, and the Graduation roles of the crew who will be working with them, and utilise this Advanced Cine understanding to interact effectively with all the other roles and Screen Business & departments on a professional production Production V (Cine)
B 6.3 Enhance their practice through ongoing critical awareness Screenwriting and analysis, developing a sustained understanding of the Intellectual skills Cinematography relationship between theory and practice Directing 6.4 Develop, communicate and deliver creative ideas, both Advanced Post working alone and collaboratively as part of a team, Production displaying a sustained awareness of the ethical implications Screen Business & of film production and working practice Production V
Cinematography 6.2: Show evidence of a sustained critical Creative Development awareness of the role of cinematography in the historical Graduation development of film, which informs their own practice Advanced Cine Screen Business & Production V (Cine)
C 6.5 Display technical assurance in all aspects of production and Screenwriting postproduction for film and related media Subject practical Cinematography
skills 6.6 Apply their knowledge, skills and understanding of all Advanced Post aspects of production and postproduction for film and Production related media, in the creation of completed artefacts, with Screen Business & an assured handling of tools and techniques consistently Production V and ethically delivered using best practice to a standard Creative Development commensurate with professional work Graduation Advanced Cine Screen Business & Production V (Cine)
D 6.7 Demonstrate a high degree of discipline and reliability as Screenwriting evidenced by attendance, punctuality, fulfilment of Key / Transferable Cinematography obligations to fellow students skills Directing 6.8 Express and convey ideas, communicate effectively, give Advanced Post and receive feedback constructively, work collaboratively as Production part of a team, displaying a sustained awareness of the Screen Business & ethical aspects of interpersonal communication Production V
Creative Development 6.9 Display strong ability to manage, prepare, and organise personal projects and motivate and mobilise others in the Graduation successful execution of said project or projects within Advanced Cine constraints of time and budget Screen Business & Production V (Cine) 6.10 Display a sustained initiative to analyse and resolve problems appropriately and effectively, putting solutions into action, and fully utilising the resources and information available
6.11 Demonstrate an ability to work creatively by having internalised the technical processes, theoretical underpinnings and cultural and historical references used in creating moving images Form B – Course Specification Template – Sept 2014 Page 13 of 24
19. Graduate attributes and employability skills
Graduates of the BA (Hons) Practical Filmmaking Course will be able to demonstrate a systematic understanding of knowledge, and a critical awareness of current debates within the film and creative industries; a practical understanding of how established techniques of research and enquiry are used to interpret knowledge; and the ability to deal with complex issues both systematically and creatively. This course is firmly based in the practical application of filmmaking practice and, therefore, emphasises the overall creative nature of filmed content, as well as the central role of storytelling within the creative media industries as a whole.
Graduates of this Course will have the necessary creative, technical and industry skills needed for work in today’s film, television and new media industries. The global nature of the skills they will have developed will prepare them for a variety of career options, while also nurturing the cycle of on-going practice and a thirst for life-long learning. They will also possess the qualities and transferable skills necessary for employment requiring the exercise of initiative and personal responsibility; decision-making in complex and unpredictable situations; and, the independent learning ability required for continuing professional development. As part of Met Film School’s commitment to industry focused education students on the undergraduate courses will be well positioned to take advantage of a range of career opportunities upon graduation, including participation in our Graduate Opportunities (MetGO) course with a variety of our industry partners and relationships.
Graduating from the Met Film School means that you will be developing the following Graduate Attributes and become:
Creatively Excellent As a storyteller and format creator.
Confident and capable of using a range of technical Technically Proficient production and post-production equipment.
Passionate Determined, curious, aspirational and with initiative.
Outward facing and employable, with an understanding of Industry Aware context within which they operate and the high professional and ethical standards required.
Confident In Articulate and confident with strong networking and Communication presentation skills.
Multi-skilled filmmakers across all formats able to successfully Adaptive change to situations and environments.
With an ability to acknowledge the journey they’ve been on Reflective and are about to go on.
With the ability to understand and articulate how stories work, Visual Storyteller their passion for them and their connection to them.
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20. Teaching and Learning strategies
The Met Film School is committed to providing quality education and practical training in the film, television and related creative industries to an internationally diverse student population with an emphasis on student achievement, industry-relevant professionalism, ethical practice, diversity and collaboration.
Teaching and Learning Strategy
Our Strategic Objectives for the next 3 years fall under the following headings:
• Learning Opportunities and Student Support: We seek to provide a creative and stimulating educational environment that will enable students from diverse backgrounds and experiences to maximize their full potential. We understand the value in providing students with a range of high quality learning experiences in addition to the necessary resources and support to enhance their academic and personal development.
• Curriculum Development and Provision: We aim to enhance the quality of our current provision by providing students with opportunities to further develop their academic and professional abilities. The emphasis is on building a highly trained teaching staff, measuring our student achievement against external indicators, and working effectively with students to maximize the learning opportunities.
• Learning and Teaching Resources: Access to appropriate learning and teaching resources provides a foundation for delivery of high quality education. Student and tutors need adequate support, resources, technology and access to information to create meaningful educational experiences in the classroom. We aim to enhance teaching practice through the development of further resources that take advantage of new technologies and information-sharing paradigms.
• Faculty and Staff Professional Development: We are committed to enhancing the quality of faculty and staff development in our mission to deliver industry relevant training and education to our students. Central to this commitment is the recognition that we have a responsibility to help faculty and staff develop in the areas of teaching and professional development.
• Student Career Advancement and Employability: Our goal is to assist all students to develop their creative and professional skills, and to maximize their abilities towards successful career outcomes. We understand that this is a process that begins early in the student’s course, and continues towards graduation through a range of activities and support in and out of the classroom.
Pedagogical Approach
Met Film School believes that through a process of reflective practice and learning, students will be able to demonstrate an understanding of the key concepts of storytelling for the screen through the creative application of the latest screen industry skills. Kolb’s (1984) model of experiential learning is the foundation of the School’s approach to education. A cycle of concrete experience, reflective observation, abstract conceptualisation and active experimentation is led, encouraged and informed by practitioner tutors who facilitate the students’ progression.
A majority of the students’ experience will emanate from ‘manufactured experiences’ that take the place of ‘real-life experiences’ due to the associated high cost of screen production. The different forms of manufactured real-world experiential exercises (Knowles et al, 1998) can include: concrete experience, reflective observation, abstract conceptualisation, and active experimentation.
Met Film School applies the “do, review, learn, apply” modification to Kolb’s model (Dennison and Kirk, 1990) to recognise that knowledge can be applied across a number of situations and to allow the linking of one learning cycle to another. This facilitates the scaffolding of experiential learning across the curriculum.
Met Film School encourages teaching staff to adopt innovative and inclusive approaches to academic and skills based pedagogy, promoting an active community of practice (Lave and Wenger, 1991). Met Film encourages students and professionals from the screen industries to interact and learn from each other Form B – Course Specification Template – Sept 2014 Page 15 of 24 through practice and participation. This approach fosters the ability of students to reflect on their own learning and understand their own strengths and weaknesses.
Met Film also recognises that filmmaking is an iterative and aesthetic process (Finney, 2002) and a process of identity formation (Frith, 2004). Finally that filmmaking education should be an authentic experience for our students, and one that encourages them to be creative and innovative practitioners within the context of current industry practice.
Through a blend of seminars, lectures, practical workshops, industry guest speakers, tutorials and self directed study, students will become equipped with the critical understanding that comes from being analytical, open-minded and curious learners. Each module has been designed to facilitate the interdependency of theory and practice, and enable students to underpin their skills based work with a historical, cultural, theoretical and industrial framework.
Teaching Methods
The course delivery employs a variety of learning and teaching methods appropriate to each module and is designed to meet the needs of a variety of learners with different backgrounds and varying levels of experience and ability.
The majority of sessions are delivered as workshops that promote active participatory learning through discussions and practical exercises. These exercises are often designed as collaborative activities that encourage teamwork and communication skills in attempting to achieve collective goals.
Practical teaching is underpinned at every stage by theoretical, historical, cultural and industrial frameworks. These are delivered through a mixture of screenings, lectures and seminars and allow students to explore the relationship between theory, industry convention and practice. Student-led presentations and seminars allow students to remain active leaders and participators in this teaching and learning.
Individual and group tutorials also form a key part of the student experience, supporting the development of individuals and projects and reacting to specific needs. Through the development of these creative projects, students will assemble a portfolio of practical work designed to enhance their technical and craft skills and provide vital experience to broaden their employment opportunities. They will also sharpen their ability to think critically, problem solve both creatively and pragmatically, work independently and collaboratively, and reflect on the process and product to an advanced degree.
Pre-Induction Course
New students will have the opportunity to complete a Pre-Induction course online via Moodle, our virtual learning environment, which comprises readings and exercises designed to prepare students for BA level work. The Pre-Induction course gives students the opportunity to meet each other virtually, set up online identities, engage in discussion forums and explore reading and viewing mini-assignments.
By the end of the Pre-Induction course we hope that students will have an idea of the educational philosophy of Met Film School, and an understanding of the level of reading and creative thinking involved in the BA course. The work for the Pre-Induction course is not formally assessed, but we will provide formative feedback to students. We also hope to encourage students to contribute to the forum where they can share and comment on their own work, the work of others and discuss current creative and industry issues.
In addition, the formal induction and enrolment of students will take place at the school during the first week of the course during which students will be assigned a personal tutor, meet the teaching team and key staff and learn about the school’s facilities.
The Course Team
The BA Course Team consists of the BA Filmmaking Course Leader, the Heads of Department for each Subject Area and the individual Module Leaders. In addition, there is a team of dedicated tutors and guest lecturers with substantial industry and teaching experience, including membership in a variety of leading external organizations such as WGGB (Writer’s Guild of Great Britain), PACT (Producers Alliance for
Form B – Course Specification Template – Sept 2014 Page 16 of 24 Cinema and Television, BFI, BAFTA, GBCT (Guild of British Camera Technicians), BECTU, BSC (British Society of Cinematographers), Women in Film, and a network that includes production companies, talent agencies, and broadcasters. The teaching team has considerable experience teaching at undergraduate level, and have received various awards and critical acclaim for their professional work.
21. Assessment strategies
Assessment Strategy
The assessment strategy on the BA (Hons) Practical Filmmaking course reflects our pedagogic approach by placing emphasis on the whole learning cycle, as outlined by Kolb’s model of experiential learning (1984). In order to ensure that the entire learning cycle of concrete experience, reflective observation, abstract conceptualisation and active experimentation is represented, each module assignment will assess students on their preparation, production and evaluation of a practical exercise. By using a combination of summative and formative assessments, students can receive important feedback on their skills, abilities and learning throughout the module, equipping them with guided feedback towards achievement of the module learning outcomes.
Subject Area modules will summatively assess students on their preparation and evaluation of a practical exercise. This is to ensure that the focus of the learning outcomes and assessment load is placed firmly on demonstrating key knowledge and intellectual skills. In addition, students will be formatively assessed and receive feedback on their project artefact, through structured formative feedback at key points during the module.
Screen Business and Integrated Productions allow students to integrate the key knowledge, skills and understanding through a practical production. This places more emphasis on the product itself and is reflected in the summative assessment of these modules. There is a clear progression from Level 4, which still summatively assesses their preparation and evaluation, to Level 5, which develops to summatively assess preparation and artefact and to Level 6 where the summative assessment includes preparation, artefact and evaluation.
The two types of assessment interweaved throughout the course are:
Formative: On-going formative assessment is designed to help monitor student learning throughout the modules and provide feedback that enables students to improve their learning. It can take various forms, from formal written feedback to informal verbal feedback, and occur at any stage of an exercise or project to help identify strengths and weaknesses and address problems. Examples of formative assessment on the course are:
o Review Screenings o Tutorials o Script Notes o Mentoring
Summative: Summative assessment is designed to evaluate student learning at the end of a module by comparing it against a defined benchmark. It is used to measure student progress at each level and contributes towards the final grade for the course. Examples of summative assessment on the course are:
o Pre-Production Portfolio o Critical Analysis o Pitch and / or Presentation o Script Report
Feedback to Students
Student feedback is a crucial stage in the assessment process. Accordingly, tutors will ensure that:
o Feedback is given on all summative assessed work o Feedback includes commentary and guidance and areas for improvement o Feedback and assessment guidance are related to marking criteria o Students are informed of the feedback procedures, including submission and return dates for all Form B – Course Specification Template – Sept 2014 Page 17 of 24 summative assessed work o That end of module assessments are returned within 3-4 weeks
Tutors will prepare students for assessments through such means as guidance on assessment criteria, 1-1 tutorials, creative assignments, essay plans, discussion, and peer-assessment.
22. Opportunities for work-based learning and employer engagement
Industry Contact
Industry contact is hardwired into the course through the extensive use of screen industry professionals as tutors, teaching the very latest industry practices and placing a particular emphasis on the emerging opportunities. In addition to the regular BA (Hons) Practical Filmmaking tutors, a variety of specialist guest tutors and guest speakers will meet students, run masterclasses and Q&A sessions.
The design and delivery of this course has involved our core faculty and educators, most of which are current industry practitioners, as well as external industry relationships and the Met Film School Advisory board. As a result the BA (Hons) Practical Filmmaking course content is very much in line with current industry practice and the learning outcomes are aligned with employer needs across the Screen Industries.
Professional Preparation
The philosophy behind the practical components within the entire MFS offering hinges on a number of key principles: o Active Participative Learning: Met Film School aims to teach with a far greater degree of staff contact time than most other filmmaking BAs. Accordingly, classes are delivered through group learning, workshops and active discussion - where possible avoiding the lecture format in practical modules. o Industry involved in course design and delivery: In line with the 2003 white paper’s recommendation that higher education should strengthen its links with industry, Met Film School developed this course with course leaders who are practising industry professionals as well as educators, and in consultation with industry partners and our advisory board, mentioned elsewhere in this document. Our tutors are all practising industry professionals and delivery is therefore continually updated in line with industry practice. Jonny Persey, the Met Film School Chief Executive, also sits on PACT’s Film Policy Group, is a member of ACE, and both he and the other key personnel in the development of the course are all engaged in the practice of the business and arts they are teaching. The Met Film School is also a member of CILECT, (International Association of Film and Television Schools) the association and network of the world's major film and television schools. o Specialisation: The course allows us to help students specialise in preparation for their industry experience, whilst at the same time acquiring a grounded all-round education in the theory and practice of film.
MetGO
MetGO is Met Film School’s Graduate Opportunities initiative. It seeks to support students in their first roles in the industry and increase awareness to student films at film festivals, etc. MetGO aims to provide our graduates with contacts in the industry and genuine employment opportunities. We have partnerships with a range of producers and commissioners who offer both long-term staff positions as well as short- term freelance contracts on a project-by-project basis, and internships. Information and opportunities for students are regularly posted through MetGO on Moodle.
23. Personal Development Planning (PDP)
Form B – Course Specification Template – Sept 2014 Page 18 of 24
Professional development
The BA (Hons) Practical Filmmaking Course is based on a student-centred model in which students are mentored by tutors to take active responsibility for their personal growth, development and learning. Through interaction with personal tutors, the Course Leader and peer-to-peer learning students will actively engage with their learning journey, set independent goals and objectives as well as plan for their future career development and life-long learning.
In addition to the personal tutorials students are encouraged to reflect on their personal growth and development through assessed work, such as written critical reflections in which they explore their learning and practice throughout the course. Personal tutors can also review this written work in order to help students contextualise their learning experience.
Personal development is aligned with professional development through academic and personal tutorials, as well as being integrated into the assessment structure across the course through formative and summative evaluation.
Screen Business Modules in Screen Business run regularly throughout the course (two at each Level) and specifically focus not just on the screen industries but the students’ place within it. Through these structured sessions, students explore how to engage with industry, how to market themselves and their projects and how to develop an achievable career plan.
Other Careers Guidance for Students
Career and professional development support for students is an essential part of the Met Film School experience, and comes through a variety of sources:
o Through meetings with their Course Leader and / or Senior Faculty members, students are encouraged to think, prepare, and develop their learning goals in line with their evolving career aspirations;
o All modules are led by practising industry professionals who regularly update the delivery of their teaching in line with contemporary industry practice and provide both formal and informal career guidance;
o Met Film School runs an event series, In Conversation… where industry guests speak informally, talk-show style, about their career experiences to an audience of students, staff, and faculty. Previous guest speakers have included Pawel Pawlikowski (Oscar winning Ida), James Marsh (The Theory of Everything), Sandra Hebron (former Creative Director of the London Film Festival), Frank Spotnitz (Executive Producer of the X-Files), Noel Clarke (Dr. Who, Kidulthood), Paul Webster (Atonement, Motorcycle Diaries, Locke), Kim Longinotto (Pink Saris, Sisters in Law), Andy Serkis (Lord of the Rings trilogy), and Stephen Frears (The Queen, Dirty Pretty Things); Additionally, Met Film School students will be made aware of the parallel careers guidance available to them through UWL’s Careers and Employment Service.
Form B – Course Specification Template – Sept 2014 Page 19 of 24 24. QAA Subject Benchmarks / Foundation Degree Benchmarks The relevant benchmarks for this course can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/subject-guidance/Pages/Subject-benchmark- statements.aspx
Benchmark Statement Modules (BA Communications, Media, Film & Cultural Studies 2008)
4.1 Communications, culture and society An understanding of the roles of communication systems, modes of representations and Ideas & Story I & II systems of meaning in the ordering of societies; Screenwriting Screen Business I-V An awareness of the economic forces which frame the media, cultural and creative industries, Screen Business I-V and the role of such industries in specific areas of contemporary political and cultural life; A comparative understanding of the roles that media and/or cultural institutions play in different Screen Business I-V societies; An understanding of the roles of cultural practices and cultural institutions in society; Screen Business I-V An understanding of particular media forms and genres and the way in which they organize All Modules understandings, meanings and affects; An understanding of the role of technology in terms of media production, content manipulation, Image & Sound I & II distribution, access and use Cinematography Post-Production I -III Screen Business I-V An understanding of new and emergent media forms and their relation both to their social Screen Business I-V context and to earlier forms An understanding of the ways in which participatory access to the central sites of public culture Ideas & Story I & II and communication is communication is distributed along axes of social division such as Screenwriting Image & Sound I & II disability, class, ethnicity, gender, nationality, and sexuality; Cinematography Post-Production I - III An understanding of the dynamics of public and everyday discourses in the shaping of culture Ideas & Story I & II and society; Screenwriting An understanding of the ways in which different social groups may make use of cultural texts Ideas & Story I & II and products in the construction of social and cultural realities, cultural maps and frames of Screenwriting
reference.
4.2 Histories An understanding of the development of media and cultural forms in a local, regional, national, All Modules international or global context; An understanding of the social, cultural and political histories from which different media and All Modules cultural institutions, modes of communication, practices and structures have emerged; An historically informed knowledge of the contribution of media organisations to the shaping of Screen Business I-V the modern world; An understanding of the interconnectedness of texts and contexts, and of the shifting All Modules configurations of communicative, cultural and aesthetic practices and systems; An understanding of the historical evolution of particular genres, aesthetic traditions and forms, All Modules and of their current characteristics and possible future developments; An understanding of the history of communication and media technologies and a recognition of Screen Business I-V the different ways in which the history of and current developments in media and communication can be understood in relation to technological change; An understanding of the interrelationships of technological and social change Screen Business I-V An understanding of the historical development of practices of cultural consumption (including Screen Business I-V sub-cultural forms and everyday lived practices); An awareness of the ways in which critical and cultural theories and concepts have developed All Modules within particular contexts.
4.3 Processes and practices Form B – Course Specification Template – Sept 2014 Page 20 of 24 An understanding of the processes linking production, distribution, circulation and consumption; Screen Business I-V An understanding of the processes, both verbal and non-verbal, whereby people manage All Modules communication face-to-face and in the context of real and virtual groups and / or communities An awareness of the processes of cultural and subcultural formations and their dynamics; All Modules An understanding of key production processes and professional practices relevant to media, All Modules cultural and communicative industries, and of ways of conceptualising creativity and authorship; An understanding of professional, technical and formal choices which realise, develop or All Modules challenge existing practices and traditions, and of the possibilities and constraints involved in production processes; A knowledge of the legal, ethical and regulatory frameworks that affect media and cultural Screen Business I-V production, manipulation, distribution, circulation, and consumption; An understanding of how media, cultural and creative organisations operate, communicate and Screen Business I-V are managed; An understanding of the material conditions of media and cultural consumption, and of the Ideas & Story I & II cultural contexts in which people appropriate, use and make sense of media and cultural Screen Business I-V products; An awareness of how media products might be understood within broader concepts of culture Ideas & Story I & II Screen Business I-V
4.4 Forms and aesthetics An understanding of the aesthetic and formal qualities at play, and their relation to meanings, in All Modules particular cultural forms; An insight into the cultural and social ways in which aesthetic judgements are constructed and All Modules aesthetic processes experienced; An understanding of the student's own creative processes and practice through engagement in All Modules one or more production practices; An examination of the role that aesthetic and other pleasures and judgements may play in the All Modules production and maintenance of social arrangements; An awareness of a range of works (in one or more media) which generate different kinds of All Modules aesthetic pleasures; An understanding of the narrative processes, generic forms and modes of representation at Ideas & Story I & II work in media and cultural texts; Screenwriting An understanding of the ways in which specific media and their attendant technologies make Image & Sound I & II possible different kinds of aesthetic effects and forms; Cinematography Post Production I-III An understanding of the audio, visual and verbal conventions through which sounds, images Image & Sound I & II and words make meaning; Cinematography Post Production I-III An understanding of the ways in which people engage with cultural texts and practices and All Modules make meaning from them.
4.5 Culture and identity An appreciation of the complexity of the term 'culture' and an understanding of how it has All Modules developed; An understanding of the ways in which identities are constructed and contested through Ideas & Story I & II engagements with culture; Image & Sound I & II Post-Production I & II An understanding of how disability, class, ethnicity, gender, nationality, sexuality, and other Ideas & Story I & II social divisions play key roles in terms of both access to the media and modes of representation Image & Sound I & II Post-Production I & II in media texts; An insight into the different modes of global, international, national and local cultural experience All Modules and their interaction in particular instances; An understanding of the ways in which forms of media and cultural consumption are embedded All Modules in everyday life, and serve as ways of claiming and understanding identities
Form B – Course Specification Template – Sept 2014 Page 21 of 24 An understanding of the relationship between discourse, culture and identity. All Modules
5.2 Skills of intellectual analysis Engage critically with major thinkers, debates and intellectual paradigms within the field and put All Modules them to productive use; Understand forms of communication, media and culture as they have emerged historically and All Level 4 Modules appreciate the processes through which they have come into being, with reference to social, cultural and technological change; Examine such forms critically with appropriate reference to the social and cultural contexts and All Modules diversity of contemporary society and an understanding of how different social groups variously make use of and engage with forms of communication, media and culture; Analyse closely, interpret, and show the exercise of critical judgement in the understanding and, All Modules as appropriate, evaluation of these forms; Develop substantive and detailed knowledge and understanding in one or more designated areas of the field Consider and evaluate their own work in a reflexive manner, with reference to academic and/or All Modules professional issues, debates and conventions.
5.3 Research skills Carry out various forms of research for essays, projects, creative productions or dissertations All Modules involving sustained independent enquiry; Formulate appropriate research questions and employ appropriate methods and resources for All Modules exploring those questions; Evaluate and draw upon the range of sources and the conceptual frameworks appropriate to All Modules research in the chosen area; Draw on strengths and understand the limits of the major quantative and / or research All Level 5 & 6 methods, and be able to apply this knowledge critically in their own work Modules Draw on research models enabled or underpinned by emergent technologies All Modules Draw and reflect upon the relevance and impact of their own cultural commitments and All Modules postionings to the practice of research; Explore matters which may be new and emerging, drawing upon a variety of personal skills and All Modules upon a variety of academic and non-academic sources.
5.4 Media production skills Produce work which demonstrates the effective manipulation of sound, image and/or the All Modules written word; Demonstrate competences in the chosen field of practice All Modules Demonstrate the development of creative ideas and concepts based upon secure research All Modules strategies Understand the importance of the commissioning and funding structures of the creative Ideas & Story I & II industries and demonstrate a capacity to work within the constraints imposed by them Screenwriting Screen Business I-V Produce work showing capability in operational aspects of media production technologies, All Modules systems, techniques and professional practices; Manage time, personnel and resources effectively, by drawing on planning and organisational All Modules project management and leadership skills; Produce work which demonstrates an understanding of media forms and structures, audiences Screen Business I-V and specific communication registers; Produce work which is informed by, and contextualised within, relevant theoretical issues and Screen Business I-V debates. 5.5 Creative, innovative and imaginative skills Initiate, develop and realise distinctive and creative work within various forms of writing or of All Modules aural, visual, audio-visual, sound or other electronic media;
Form B – Course Specification Template – Sept 2014 Page 22 of 24 Experiment, as appropriate, with forms, conventions, languages, techniques and practices; All Modules Employ production skills and practices to challenge existing forms and conventions and to Screen Business I-V innovate Draw upon and bring together ideas from different sources of knowledge and from different Screen Business I-V academic disciplines; Be adaptable, creative and self-reflexive in producing output for a variety of audiences and in a Screen Business I-V variety of media forms.
5.6 Skills of social and political citizenship Critically appraise some of the widespread common sense understandings and All Modules misunderstandings of communications, media and culture, and the debates and disagreements to which these give rise; Analyse how media and cultural policies are devised and implemented, and the ways in which Screen Business I-V citizens and cultural communities can play a part in shaping them; Analyse the role which community and participatory media forms may play in contributing to All Level 5 Modules cultural debate and contesting social power; Screen Business I-V Critically evaluate the contested nature of some objects of study within the fields of All Level 6 Modules communication, media, film and cultural studies and the social and political implications of the judgements which are made Show insight into the range of attitudes and values arising from the complexity and diversity of All Modules contemporary communications, media, culture and society, and show capability to consider and respond to these
6. Generic skills Work in flexible, creative and independent ways, showing self-discipline, self-direction and All Modules reflexivity; Gather, organise and deploy ideas and information in order to formulate arguments cogently, All Modules and express them effectively in written, oral or in other forms; Retrieve and generate information, and evaluate sources, in carrying out independent research; All Modules Organise and manage supervised, self-directed projects; All Modules Communicate effectively in inter-personal settings, in writing and in a variety of media; All Modules Work productively in a group or team, showing abilities at different times to listen, contribute All Modules and lead effectively; Deliver work to a given length, format, brief and deadline, properly referencing sources and All Modules ideas and making use, as appropriate, of a problem-solving approach; Apply entrepreneurial skills in dealing with audiences, clients, consumers, markets, sources Screen Business I-V and/or users; Put to use a range of IT skills from basic competences such as data analysis and word- All Modules processing to more complex skills using web-based technology or multimedia, and develop, as appropriate, specific proficiencies in utilising a range of media technologies.
Form B – Course Specification Template – Sept 2014 Page 23 of 24 25. QAA Qualification Descriptors The relevant qualification descriptors for this course can be downloaded from: http://www.qaa.ac.uk/AssuringStandardsAndQuality/Qualifications/Pages/default.aspx Bachelor's degrees with honours are awarded to students who have demonstrated: o a systematic understanding of key aspects of their field of study, including acquisition of coherent and detailed knowledge, at least some of which is at, or informed by, the forefront of defined aspects of a discipline o an ability to deploy accurately established techniques of analysis and enquiry within a discipline o conceptual understanding that enables the student: o to devise and sustain arguments, and/or to solve problems, using ideas and techniques, some of which are at the forefront of a discipline o to describe and comment upon particular aspects of current research, or equivalent advanced scholarship, in the discipline o an appreciation of the uncertainty, ambiguity and limits of knowledge o the ability to manage their own learning, and to make use of scholarly reviews and primary sources (for example, refereed research articles and/or original materials appropriate to the discipline).
Typically, holders of the qualification will be able to: o apply the methods and techniques that they have learned to review, consolidate, extend and apply their knowledge and understanding, and to initiate and carry out projects o critically evaluate arguments, assumptions, abstract concepts and data (that may be incomplete), to make judgements, and to frame appropriate questions to achieve a solution - or identify a range of solutions - to a problem o communicate information, ideas, problems and solutions to both specialist and non-specialist audiences.
And holders will have: the qualities and transferable skills necessary for employment requiring: o the exercise of initiative and personal responsibility o decision-making in complex and unpredictable contexts o the learning ability needed to undertake appropriate further training of a professional or equivalent nature.
Holders of a bachelor's degree with honours will have developed an understanding of a complex body of knowledge, some of it at the current boundaries of an academic discipline. Through this, the holder will have developed analytical techniques and problem-solving skills that can be applied in many types of employment. The holder of such a qualification will be able to evaluate evidence, arguments and assumptions, to reach sound judgements and to communicate them effectively.
Holders of a bachelor's degree with honours should have the qualities needed for employment in situations requiring the exercise of personal responsibility, and decision-making in complex and unpredictable circumstances.
Bachelor's degrees with honours form the largest group of higher education qualifications. Typically, learning outcomes for these courses would be expected to be achieved on the basis of study equivalent to three full-time academic years and lead to awards with titles such as Bachelor of Arts, BA (Hons) or Bachelor of Science, BSc (Hons). In addition to bachelor's degrees at this level are short courses and professional 'conversion' courses, based largely on undergraduate material, and taken usually by those who are already graduates in another discipline, leading to, for example, graduate certificates or graduate diplomas.
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