57235 The Business of Screens
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particular session, location and mode of offering is the authoritative source
of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.
Subject handbook information prior to 2024 is available in the Archives.
Credit points: 8 cp
Result type: Grade and marks
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 57175 Creative Producing
Description
This subject introduces students to concepts, strategies and practices of the business of screens across existing and developing screen and creative industries. Students explore the role of the creative producer in diverse fields of media production and apply their learning to the practical development of self-generated and collaborative media arts projects. Students examine key issues and concerns of producers working in the creative industries in local, national and international contexts. Students are introduced to key concepts and approaches to: pitching, funding and finance; marketing and distribution; intellectual property and copyright; budgeting; contracting; collaboration; creativity; leadership and sustaining an ethical, engaging and impactful creative practice. Students interrogate and learn strategies surrounding the rapidly expanding arena of 'impact producing' which includes generating and sustaining partnerships with core stakeholders and innovative approaches to development, financing and distribution.
Subject learning objectives (SLOs)
| a. | Identify key issues and concerns for creative producers in the existing and emerging creative and media industries |
|---|---|
| b. | Justify the viability of a proposed project |
| c. | Examine the impact of a marketing and distribution strategy |
| d. | Appraise engagement of creative project ideas with a potential audience |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Apply high-level collaborative research and entrepreneurial skills to business, curation and understanding audiences (2.2)
- Analyse, develop or produce creative media projects for a range of platforms and experiences (2.3)
- Demonstrate high-level abilities and self-awareness as an oral, written and visual communicator (6.2)
Teaching and learning strategies
This subject is delivered in seminars that incorporate a range of teaching and learning strategies including lectures, short presentations, in-class discussions, experiential activities, workshops, case-study analyses, collaborative teamwork and project-based learning. These will be complemented by flipped activities, including preparatory work using a range of resources provided on the online subject site, and out of class project development activities. Students are expected to regularly check and engage with subject materials on the online subject site in order to effectively manage their learning experience in this subject. Formative feedback will be provided in-class.
Content (topics)
The subject includes content on key issues and concerns of producers: pitching, funding and finance; marketing and distribution; intellectual property and copyright; budgeting; contracting; collaboration; creativity; leadership and sustaining an ethical, engaging and impactful creative practice.
Assessment
Assessment task 1: Pitching of Creative Media or Project Idea
| Objective(s): | a, b and d | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 40% | ||||||||||||||||||||||||
| Length: | 5 minute oral pitch including any still visual materials or a trailer (60 seconds maximum). | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Creative Producing Portfolio and Impact Distribution Strategy
| Objective(s): | a, b, c and d | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 60% | ||||||||||||||||||||
| Length: | The portfolio will be 2500 words and will be submitted as a PDF or collection of PDFs with links to any supporting media. | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
This subject is based on a collaborative approach which involves workshopping and interchange of ideas with other students and the tutor.
Required texts
There are no required texts for this subject. Recommended readings will be available via UTS Library and the online subject site.
References
Botto, R. 2017, Crowdsourcing for filmmakers : indie film and the power of the crowd, Focal Press, New York.
Clark, P. 2006, Reinventing China : a generation and its films, Chinese University Press, Hong Kong.
Cohen, H. 2009, Screen media arts : an introduction to concepts and practices, Oxford University Press, South Melbourne.
Cousins, M. 2012. The story of film: An Odyssey, Music Box Films. (Video)
Curtin, M. 2014, Distribution revolution : conversations about the digital future of film and television, University of California Press, Oakland, California.
Dannenbaum, J. 2003, Creative filmmaking from the inside out: five keys to the art of making inspired movies and television, Touchstone, New York.
Erickson, G. 2009, Independent film producer's survival Guide : a business and legal sourcebook, Contigo Publishing, New York.
Finlay, A., Milliken, S. 2019, Producing for the Screen: a Handbook, ScreenABC
Friesen, T. 2016, Story, money, impact : funding media for social change, Focal Press. New York.
Honthaner, E. 2010, The complete film production handbook, Focal Press, Burlington.
Hope, T. 2015, Hope for Film, Soft Skull Press, Berkeley.
Hubris-Cherrier, M. 2018, Voice and vision : a creative approach to narrative filmmaking, 3rd Edition. Focal Press, New York.
Jeffrey, T. (ed) 2006, Film business : a handbook for producers, 3rd Edition, Allen & Unwin, Crows Nest.
Jones, C., Jolliffe, G. & Zinnes, A. 2010, The guerilla film makers pocketbook : the ultimate guide to digital film making, Bloomsbury, London.
Kaufman, J. C., Sternberg R.J. 2007, The international handbook of creativity, Cambridge University Press, Cambridge.
Kavoori, A & Punathambekar, A. 2008, Global Bollywood, NYU Press, New York.
Lee J.J., Lee J.J.(Jr.), Holt, R. 2005, The producer's business handbook, Focal Press, Oxford.
Lees, N. 2012, Give me the money and i’ll shoot, finance your factual tv/film project, Methuen Drama, London.
Levison, L. 2016, Filmmakers and financing: business plans for independents, Focal Press, New York.
Lyons, S. 2012, Indie film producing : the craft of low budget filmmaking, Elsevier/Focal Press, Amsterdam, Boston.
McKenna, A. T., Meir, C., Spicer, A. (eds), 2014, Beyond the bottom line : the producer in film and television studies, Bloomsbury, New York.
McMahon, S. 2015, How to make and sell your film online and survive the hollywood implosion while doing it : no festivals - no distributors - no budget - no problem, CreateSpace Independent.
Mehta, R & Pandharipandhe, R. 2011, Bollywood and globalization : Indian popular cinema, nation, and diaspora, Anthem Press, London.
Merzbacher, C. 2018, The SHORT! Guide to Producing: The Practical Essentials of Producing Short Films, Routledge, New York.
Murch, W. 2001, In the blink of an eye : a perspective on film editing, Silman-James Press.
Ni, Z & Berry, C. 2003, Memoirs from the beijing film academy : the genesis of china’s fifth generation, Duke University Press, Durham.
Nikolic, V. 2017, Independent Filmmaking and Digital Convergence, Routledge, New York.
Pearlman, K. 2009, Cutting rhythms : shaping the film edit, Focal Press, New York and London.
Pescucci G. et al. 2014, Lost in La Mancha. Madman Cinema (Video)
Phillips, A. 2012, A creator's guide to transmedia storytelling : how to captivate and engage audiences across multiple platforms, McGraw-Hill, New York.
Rea, P. 2006, Producing and directing the short film and video, Elsevier, Boston.
Rosenthal, A. 2007, Writing, directing and producing documentary films, 4th Edition, Southern Illinois University Press, Carbondale.
Runco, M. A. 2007, Creativity : theories and themes : research, development and practice, Elsevier Academic Press, London.
Ryan, M. 2010, Producer to producer : a step-by-step guide to low budgets independent film producing, Michael Wiese Productions, Studio City.
Sawyer R. K., 2003, Group creativity : music, theater, collaboration, Lawrence Earlbaum Associates Inc., Publishers Mahwah, New Jersey. Publisher, Los Angeles.
Seger, L. 2004, From script to screen : the collaborative art of filmmaking, Lone Eagle Publisher, Los Angeles.
Small, R. 2000, Production safety for film, television, and video, Focal Press, Boston, Mass.
Yennie, B. 2015, The entrepreneurial producer : a series of articles on growing your filmmaking career, Producer Foundry.
Yennie, B. 2016, The guerrilla rep : American film market distribution success on no budget, Producer Foundry.