57692 Creative Producing
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particular session, location and mode of offering is the authoritative source
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Subject handbook information prior to 2025 is available in the Archives.
Credit points: 6 cp
Subject level:
Postgraduate
Result type: Grade and marksRequisite(s): 16 credit points of completed study in spk(s): STM91564 Core stream (Media, Industry and Practice)
These requisites may not apply to students in certain courses.
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 57235 The Business of Screens
Description
This subject introduces students to the concepts, strategies and practices of content creation in established and emerging screen environments, enhancing their understanding of the creative producer’s role in media production in both domestic and global contexts. Students develop skills in project initiation, then apply this learning to the practical development of self-generated and collaborative media arts projects. Students investigate approaches to creativity, story development, pitching and marketplace assessment and learn essential skills in production financing, budgeting and scheduling. Students then examine key concepts of marketing and distribution, and legal issues such as contracts and copyright. They also interrogate strategies surrounding impact producing and managing an ethical and sustainable creative practice.
Subject learning objectives (SLOs)
| a. | Identify key issues and concerns for creative producers in the screen industry. |
|---|---|
| b. | Initiate and develop projects in screen production. |
| c. | Research and justify the viability of a proposed project and its release strategy. |
| d. | Appraise engagement of creative project ideas with a potential audience. |
| e. | Work effectively and ethically in collaborative creative environments. |
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:
- Analyse, develop or produce creative media projects within a framework of specialised practice-oriented knowledge and skills. (1.1)
- Engage critically with your creative practice research through the application of established theory. (2.1)
- Apply collaborative practice, research, and entrepreneurial skills to business, curation and understanding audiences (3.1)
- Engage screen audiences and communities for impact and change. (5.1)
- Demonstrate high-level abilities and self-awareness as an oral, written and audio-visual communicator. (6.1)
Teaching and learning strategies
The subject explores key issues and concerns of producers. Weekly seminars incorporate a range of teaching and learning strategies, including lectures, short presentations, case studies and project-based learning. Collaborative in-class exercises embed oral, written, research and analytical skills relevant to each week’s topic. These skills are complemented by preparatory work using 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 to effectively manage their learning experience in this subject. Formative feedback will be provided in-class on projects and exercises, including before census date.
Content (topics)
There are four modules in the subject:
- Creativity: research and development of concepts and story ideas, pitching, collaboration and mentors.
- Finding Finance: markets, plans and strategies for development and productions, stakeholders and impact producing.
- Business Essentials: budgets, scheduling, legal issues (copyright, contracts, IP), safety.
- Extending the Audience: sales, distribution, marketing, multiplatform delivery.
Assessment
Assessment task 1: Video Pitch for Screen Project
| Objective(s): | a, b, c, d and e | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 35% | ||||||||||||||||||||||||
| Length: | 5 minutes, including any trailer materials (of maximum of 1 minute) | ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Creative Producing Portfolio
| Objective(s): | a, b, c and d | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 50% | ||||||||||||||||||||||||
| Length: |
| ||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 3: Written reflection
| Objective(s): | c and e | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 15% | ||||||||||||
| Length: | 500 words | ||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Attendance at all teaching activities is essential in this subject. Teaching activities 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 activity (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).
Generative AI may be permitted in specific assessment tasks. If so, it will be noted in your assessment brief and its use will need to be referenced. In this case refer to the UTS Library Guide on the use of Generative AI for instruction about how to reference correctly.
References
Required and recommended readings will be available via UTS Library and through the subject site.
Botto, R. 2017, Crowdsourcing for filmmakers: indie film and the power of the crowd, Focal Press, New York.
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.
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.
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.
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.
Nikolic, V. 2017, Independent Filmmaking and Digital Convergence, Routledge, New York.
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.
Rosenthal, A. 2007, Writing, directing and producing documentary films, 4th Edition, Southern Illinois University Press, Carbondale.
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.