Film and Television
Bachelor of Fine Arts (Honours) Degree in Film and Television
This is a four-year programme offering a practical specialist education within a group context. Supporting theoretical studies are also incorporated to allow students to better understand the context within which they are working.
The degree programme delivers film and television education programmes in training students to international standards in preparation for entering professional careers in film and television and related industries.
Different types of film/TV production are dealt with from the angle of the specialist whilst striving for an understanding of all specialisms. The importance of cooperation is kept central through joint projects growing in scale from 1st and 2nd year exercises via 3rd year productions to 4th year graduation projects.
The programme also provides both school and academy-wide elective courses and students can choose from a very broad range of courses and from a variety of disciplines from other schools, Liberal Arts, Languages and Performing Arts Education.
THE MAJOR STUDIES
Students study a broader range of major study courses, especially in the first two years of the four-year programme. Students study every fundamental major study course in the first year, progress to choosing three courses in the second year, two of which they can continue in the third year before finally choosing one only in the final year.
The MAJOR STUDIES on offer are:
(The creative framework, overall insight and good organization are the keys to quality.)
The school stresses the importance of creative organizational and management abilities within the field of film and television. To this end we will admit the same number of students interested in specializing in Producing /Production Management as in Direction. We aim to educate creative producers as well as efficient production managers and production assistants.
Students will alternate between the role of producer and production manager on projects. As producer the student will be actively involved in selection of scripts, creative development of ideas and the creative solving of logistical and financial problems. We aim to develop producers who will be creative participants and partners in projects, initiating as well as executing ideas, providing support and insight as well as organizational and financial sanity for the film/TV team.
(Creative conception and the craft of telling.)
We offer the most comprehensive and in-depth screenwriting specialist BFA degree program in Hong Kong. In fact our program is unique even by international standards.
Through analyzing shorts and feature films, the students will learn to initiate, develop and finish a script as a professional screenwriter. The students will start by telling stories and presenting them through the interplay of location, character, events and time. They then progress to master various scriptwriting elements such as characterization, plot design, scene breakdown, narrative structure, adaptation and different genres of cinematic language. There will be great emphasis on writing and literary skills to balance the teaching of theory and analytical skills. In their final year, students are expected to write a feature length script as their graduation project, which will be evaluated by industry standards.
(Creative control - directing for yourself as well as others.)
The directing department will help students learn about different kinds of directing from fiction (Film and TV) to documentary. We hope to produce directors who are more than just fiction auteurs with one or two personal ideas and more than just technically competent managers capable of carrying out a commission. We believe in the director as interpreter and filmic shaper as much as an originator of ideas. To this end, we will encourage students in the development of personal projects as well as giving them the chance to work in commissioned situations or with scripts written by fellow scriptwriting students so that they can put their creativity to work, not just for personal expression but for finding solutions to problems posed by others too.
We aim to help directors learn how to work in creative partnership with producers, actors and crew, and to operate within realistic budgets and time limits on films and in television. We aim to develop the idea that creativity can be challenged and stimulated by logistical/financial restrictions rather than blocked and frustrated. We wish to encourage the making of projects that work within set limits and do not end up looking like underfunded imitations of something they should never have tried to be.
(Creative visuals - painting with shapes and light.)
Cinematography students will be expected to become proficient in both the areas of lighting and camera operation. They will also learn to work with various available technologies for recording images (film and/or digital video). As well as being introduced to TV studio techniques, they will have the chance to work on both fiction and documentary projects. The basic techniques and craft skills will be the groundwork for developing individual creative style that can be put at the service of the director in interpreting a script.
At the same time, cinematography students will be taught to work quickly and efficiently without losing creative control of the visual look. Learning to compromise under the pressures of time, budget and available light and resources will be an important part of their creative and technical training.
(Creative cutting - putting it all together and shaping the whole.)
In the area of editing the School aims to develop the creative and technical competence of students to the professional standards. Students will learn the craft of creatively work with layers of images, story, dialogue, music, pacing, as well as actors’ performances to effectively create or “re-create” the film as a cohesive whole.
With the advent of digital post production, the School has equipped high quality digital facility. Editing students will be taught up-to-date digital technology. They will also learn and experience other aspects of post production crafts, such as visual effects and colour grading in order to be an all-round post production creative practitioner.
Editing students will be encouraged to see themselves as partners and advisors to the director and producer capable of suggesting solutions, both creatively and technically, and creating a cohesive whole from the raw material.
(Creative surround - aural sculpture and the world beyond the screen.)
Sound students will learn about and be involved in all aspects of sound recording and sound design (post production track laying and mixing). They will be taught all the necessary skills and techniques as well as being expected to develop creative capabilities in the use and application of sound in fiction, documentary and studio contexts. Sound will not be treated as a last minute addition to a project but seen as an essential creative tool at the disposal of the filmmaking team. Quality of live recorded sound will be encouraged and cooperation between sound editor and picture editor will be of paramount importance particularly as computer techniques bring the two disciplines closer together.
Sound students will also be encouraged to consider the emotional and atmospheric effects of music and ambient sound sources. Learning the skills of the foley artist (responsible for post synching sound effects) will also be encouraged. Sound students will learn to support and inspire the director in the use of sound and emphasize the critical contribution of the aural dimension to the finished film or video production.
Contextual studies include courses that expand on, and place students’ major studies into a broader context in order to extend and deepen their understanding not only of the discipline, but also of the discipline within broader socio‐cultural, artistic, disciplinary and historical contexts. Contextual studies may be practice‐based where they integrate theory and practice, or purely theoretical, taught in the classroom or screening room. Contextual study courses can also include elf‐reflection upon performance or practice where theory and practice are thus closely integrated. In line with the specific intention to rebalance major and contextual studies more equitably within the 4YD, the School has added a full-time position especially to develop and deliver screen theory and history courses. The focus upon contextual studies courses demonstrates a greater commitment to the design and delivery of courses such as: Silent Cinema, Screen Worlds, Chinese Cinema: Hong Kong, Chinese Cinema: China & Taiwan, Screen Theories, Professional Internship and Reflections on Filmmaking I‐IV, and further illustrates the intention to both integrate theory and practice and broaden curriculum content.
(Creative cooperation and creative growth - everybody's specialism.)
The School will admit sufficient students in the various departments to ensure high quality technical/creative crewing throughout the four years of the BFA programme. We want students who are enthusiastic for their chosen specialism and not secretly wishing they were doing something else.
“Learning to cooperate" is no empty phrase and the aim of the curriculum in the BFA first year (as well as in the execution of productions in subsequent years) is to emphasize the importance of creative and technical cooperation across all students in all specialisations.
We will encourage flexible and effective working practices and help students learn how to contribute according to the requirements of the individual production rather than feeling they have to show off technical tricks or impose their personal stamp at the expense of the whole: cooperation not the clashing of specialist egos.
THE MAJOR STUDIES
Production Administration Fundamentals
Intermediate Production Administration
Advanced Production Administration
|Year Four:||Production Administration in Focus
Directing in Focus
Screenwriting in Focus
Cinematography in Focus
Editing in Focus
Sound in Focus
Approaches to Film Analysis I & II
Chinese Cinema: Hong Kong
Chinese Cinema: China & Taiwan I & II
Reflections on Filmmaking I & II
Reflections on Filmmaking III & IV
Civilizations I & II
Languages, Liberal Arts and Academy-wide electives
Introduction to Arts Direction
American Cinema: Studio System
Introduction to Screen Acting
Writing for Television
Digital Imaging Essential
European Cinema after WWII
American Cinema since the 1960s
Production Design I & II
Eastern European Cinema
Appreciation of Screen Sound and Music
Experimental and Avant Garde Video