52652 Drama Production
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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 2025 is available in the Archives.
Credit points: 6 cp
Result type: Grade and marks
Requisite(s): (52650 Screen Story OR 54030 Exploring Media Arts) AND (52651 Exploring Media Arts OR 54031 Composing the Real)
These requisites may not apply to students in certain courses.
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 54032 Fictions AND 58114 Fictions: Storytelling, Narrative and Drama
Description
This subject explores the conceptual and practical frameworks that underpin the production of narrative (fictional) drama for the screen. Students develop a working understanding of mise-en-scene, key crew roles, and the techniques and protocols required for effective collaboration on a drama production set. Students are introduced to essential concepts and processes underpinning the way fictional stories are produced to industry-standards. They extend their hands-on production skills through crew-based exercises that deepen their understanding of the ways each department on a drama production contributes to bringing fictional screen works to life.
Subject learning objectives (SLOs)
| a. | Perform a crew role for a screen drama production |
|---|---|
| b. | Create a narrative film with continuity editing and sync sound |
| c. | Collaboratively produce a narrative media project that demonstrates technical proficiencies |
| d. | Critically analyse their media production practice and the resulting media projects |
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:
- Act in a professional manner appropriate to communication industries (1.1)
- Apply theoretically informed understandings of communication industries to independent and collaborative projects across a range of media (1.2)
- Act as reflexive critical thinkers and innovative creative practitioners who evaluate their own and others' work (2.2)
- Analyse and act ethically in the personal, political and professional contexts of civil society (5.1)
- Exemplify effective and appropriate communication in different communication industry contexts (6.1)
Teaching and learning strategies
This subject is delivered through engagement with online content, on campus seminars and workshops. The online content program is delivered via curated short instructional videos, readings and discussions, prior to attending class. This contextualises key concepts (theoretical and practical) that have shaped the way we produce, craft and enjoy fictional stories on screen. Seminars are the venue for activities that apply the knowledge that students have acquired online and include students giving short presentations, discussions of in-class screenings and drama production exercises. Students are led through a range of in-class exercises during which they will receive formative feedback, scaffolding them toward their assessment items. As the subject progresses, the focus shifts from exploring the roles and responsibilities of specific crew members to activities in which students work collaboratively to complete narrative media projects of differing style, substance and difficulty. New technical skills are acquired via workshops.
Content (topics)
This subject provides students with practice-based opportunities to explore the fundamentals of drama production in the Media Arts. Theoretical frameworks addressed in this subject include screen story theory as it applies to the execution of craft and the director’s vision when shooting scripted drama, and an introduction to mis-en-scene. Topics covered include; cinematography and visual style; continuity and editing practice within narrative film; achieving sync with double-system sound; sound design; fundamentals of production management, and crew roles and responsibilities within narrative media production from the start of pre-production through to delivery. The principles of collaboration introduced in earlier subjects will be built upon in this subject and provide students with a critical introduction to common professional practices in this area.
Assessment
Assessment task 1: Crew Role Task
| Objective(s): | a, c and d | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 40% | ||||||||||||||||||||
| Length: | 2 minutes for the finished scene. | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Narrative Media Project
| Objective(s): | a, b, c and d | ||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 60% | ||||||||||||||||
| Length: | 4 minutes for the finished scene. 1000 words for the written reflection | ||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Student must pass the Lighting Safety Test in order to operate equipment associated with this class. This requirement is for safety reasons. If students haven’t passed the test they will not be allowed to handle lights or any electrical equipment.
Students are required to submit documentation to an online approvals system for Media Arts & Production student projects in which they confirm they have acquired the appropriate approvals (locations, crew and cast) necessary to undertake the work that they propose. In addition, students must also identify any and all safety risks that the production of their student project reasonably presents and provide evidence of how they will mitigate those risks while adhering to industry-standard safe work practices. These tasks address the various legal, safety and ethical requirements of screen production. Failure to provide tutors with the required documentation before published deadlines will result in the student crew not being authorised to collect the equipment required to complete their projects from FASS MediaLab.
Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each class (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8).
Required texts
There are no required texts for this subject. Recommended readings will be available via UTS Library and through the subject site.
References
Aronson, L. (2011). The 21st Century Screenplay. Allen & Unwin.
Bordwell, D., Thompson, K., & Smith, J. (2018). Film art : An introduction (12th Edition) McGraw Hill.
Chion, M. (1994). Audio Vision: Sound on Screen. Columbia University Press.
Dancyger, K. (2010). The Technique of Film and Video Editing (5th Edition). Focal Press.
Dancyger, K. (2006) The director's idea: the path to great directing. Focal Press.
Field, S. (2005) Screenplay: The Foundations of Screenwriting. Bantam Dell.
Holman, T. (2002) Sound for film and television. Focal Press.
LoBrutto, V. (2002) Visualisation of a Screenplay. Allworth Press
Mamet, D. (1991) On Directing Film. Faber & Faber.
Proferes, N. (2004) Film Directing Fundamentals. Focal Press.
Rabiger, M. (1997). Directing: Film Techniques and Aesthetics (2nd Edition) Focal Press.
Weis, E., & Belton, J. (1985) Film Sound: Theory and Practice. Columbia University Press.
Weston, J. (1996) Directing Actors. Michael Weise Productions.
Wheeler, P. (2001) Digital Cinematography. Focal Press.
Yorke, J. (2013) Into the woods: a five act journey into story. Overlook Press.