In this module students are asked to examine contemporary visual culture in all of its various forms. It takes as its starting point that visual culture does not exist in isolation, but rather has been formed and continues to be shaped by the ideologies and philosophies of the society in which it exists.

It is an inquiry based module in which students are introduced to societal and ethical topics and these are then examined by reference to specific media. It accepts that contemporary visual culture is multifaceted and, as such it examines, but is not limited to such media as film, television, documentary, social media, the gaming industry, animation, advertising, photography and fine art.

1. Exhibit a detailed knowledge of the multiplicity of theoretical approaches concerningvisual culture.

2. Appraise therelationship between culture andsociety.

3. Research the representation of a relevant topic and present findings as a finalised video-essay.

4. Participate in and contribute to seminars and discussions.

5. Formulate a suitable topic for examination forthe final year’s ‘Research Project / Dissertation’.

This module will examine the theoretical issues which surround the modalities of the non-fiction form. The student will learn to critically analyse issues of representational form and authenticity in non-fiction film. Learners analyse the creative treatment of actuality and the modes and flexibility of the documentary film form. The evolution of the feature length documentary and its place and value in contemporary culture and society will be explored , equipping students with a comprehensive knowledge of the non-fiction canon. The module will be delivered through a combination of seminars, screenings and group discussions.

1. Define the development of the documentary movement from its origins to present day.

2. Critically analyse documentary and situate the non fiction film in a historical and theoretical context.
3. Appraise the critical issues in representational form and authenticity in non-fiction film.

4. Critically analyse the concept of documentary as a creative treatment of actuality.
5. Classify themodes of documentary film.

6. Outline the functions and modalities of the non-fiction form in society.
7. Identify the ethical dilemmas surrounding documentary filmmaking.

This module will advance core production skills, including budgeting, plus a focus on the "bookends" of production: Development and Distribution.

1. Schedule a project using digital scheduling software

2. Generate production budget for short film

3. Demonstrate an understanding of insurance requirements for a production.

4. Demonstrate research skills and the development process.

5. Outline the commissioning process of the Broadcasters.

6. Demonstrate and understanding of the role of the sales agent and the distributor.

The art and craft of short fiction film is the focus of this practice-based module, which introduces students to a range of short filmmakers and short films, from the experimental, poetic to traditional narrative. Students will learn and embed the fundamental grammar of cinema through learning about historical and contemporary short filmmaking. Students will participate in lectures and workshops on plot structure, cinematic storytelling, representation, shot/reverse shot, and do a variety of exercises and briefs including a one location 2 character short film and a non-dialogue film. The roles and workings of a crew will be explored in theory and in practice through group productions, giving students' experience of being on set, developing their voice in their various crew roles and collaborative skills. Students will learn how to develop an idea from script development to screen, through pitching ideas, developing scripts, preproduction, production and post-production.

1. Demonstrate knowledge of terminology of the aesthetics of film form and the application of film grammar in narrative and experimental work.

2. Implement procedural knowledge of the creative and practical aspects of directing a crew to achieve a desired and cohesive vision.

3. Apply skills ofcollaborationand engagement as a part of a group on film projects, to devise, develop and make a short film, from concept to delivery.

4. Generate and plan a pre-visualisation ofa project through treatment, script breakdown, storyboards, shot list etc.

5. Apply knowledge of models, and structures to the various crew roles and how they interconnect.

6. Apply procedural knowledge of one or more crew roles as part of a group project such as Director, Producer, Assistant Director, Casting Director, Director of Photography, Camera Operator, Script Supervisor, Production Designer, Production Assistant, Editor, Assistant Editor, Sound recordist, Sound designer, and/or Visual Effects Supervisor.

7. Create, generate, plan anddeliver alive presentation outlining your creative and technical vision for your role

8. Interpret and appreciatefor the historyand context of short narrative, feature and experimental film genres

This Industry Project module will centre on students on a service learning project, meeting with host clients to identify their media needs and devising a brief – which they undertake.

The Host client's needs may be as diverse as a website, podcasts or a corporate video.

1. Demonstrate the ability to work within a specific discipline as part of a production team to realise a common goal.

2. Demonstrate the soft skills of a content creator as they work with the host client.

3. Work as a team to devise a mutually agreed project timeline, with specific and fixed timelines.

4. Identify the needs of the client to determine a brief.

5. Agree to specific milestones with a client in terms of a project’s delivery.

6. Research comparable outputs in terms of websites, corporate videos, social media.

7. Pitch the project to the client and absorb their notes before initiating the project.

8. Absorb notes from the client on initial draft of output before final draft.

This module aims to prepare learners to work and communicate effectively in Irish at an appropriate standard within a media workplace environment. The module focuses on equipping learners with more specialised vocabulary in Irish pertinent to the film and media sector. Engagement with industry across aspects of Irish language media within the region will be an integral part of this module with a firm experiential focus. The modalities of this engagement will be devised with key stakeholders in the Irish language media industry.

1. Communicate orally at an appropriate standard in basic professional interactions in the target language within a media workplace environment and employ a suitable range of specialisedvocabulary on a variety of topics relevant to cinema and video production.

2. Research the output of relevant media companies.

3. Report on the functioning and output of the relevant work site visited.

4. Write short paragraphs and written tasks ofan appropriate standard,summaries, emails, CV, and messages in the target language on specialised topics relating to the media workplace environment.

5. Pitch the outline of an idea for a film, documentary or seriesin the target language at an appropriate level.

6. Interactat an appropriate level with selected media andfilm content in the target language and discussaspects of Irish language programming and the cultural context of selected media.

7. Collaborate as a team to preparequestions for onsite interview.

An intermediate level course in the role and functions of Production Design incorporating a range of technical and conceptual skills for Film and broadcast productions.

Building on year one content, involving a deeper exploration of design and practical issues as well as increased conceptual work.

1. Engage in critical analysis of Production Designers and their work, whilst analysing their design choicesand the effects of these decisions.

2. Critiquethe psychology ofProduction Design, particularlyin terms of colour, lighting and texture.

3. Implementindustry standards in the delivery of Production Design projects.

4. Utilise both traditional and digital methods to create graphic props.

5. Utilisetechnicalscale drawing skillsfor the purposes of illustrating a design concept, and exhibitboth traditional and digital drawing techniques.

6. Implement the expertise, knowledge and skillsto produce three-dimensional scale models.

7. Appraise the intricacies of costume, hair and makeup for film & television.

A further examination of location audio recording theory and techniques and an introduction to studio sound theory, operation, recording and mixing.

1. Understand the principles of multi track audio recording.

2. Execute basic recording and mixing tasks in a sound studio.

3. Assemble Ambience, Sound Effects and Foley sound for picture sync.

4. Process audio using time based and dynamic effects.

5. Understand Equalisation of sounds.

6. Develop an understand of the structure and basic operation of a DAW system

7. Critically assess and evaluate audio recordings.

8. Carry out multi track location audio recordings

An applied intermediate module in the interdependent studio areas of virtual cinematography, DMP and environmental art, green screen, compositing, rotoscoping and motion-tracking (Nuke, Syntheyes) within the contemporary post-production environment for film and moving-image industries.

1. Execute work in a self-directed and focussed manner in the digital studio using contemporary hardware and software
configurations.

2. Operate Nuke software in order carry out common post-production tasks for film and moving-image industries, including: compositing, virtual cinematography (virtual cameras and lighting in 3D space), keying (luma and colour), rotoscoping, colour matching and basic grading.

3. Construct digital matte paintings (DMP) using image selection and compositing tools.

4. Differentiate and compare contemporary international trends in the field of visual post-production in the context of their own personal studio
practice.

5. Design and deliver innovative cinematographic sequences for critical assessment.

6. Construct work to a range of required industry formats and technical standards

This is an elective module, and will be followed by Editing 3 for those who select it. It focuses on intermediate digital editing, enabling students to build upon the practical skills and aesthetic insights gained in Editing 1. Students will deepen their understanding of the principles of the post-production process, together with a more comprehensive exploration of editing history and aesthetics across specific fiction and non-fiction genres. Additionally, participants will have the opportunity to edit projects that connect to various other modules, enhancing their overall learning experience.

1. Demonstrate knowledge of the history and development of picture and sound editing.
2. Utilise a digital editing software withtechnical proficiency.

3. Implement the editingworkflow from ingestto output.

4. Through formal analysis, identify and apply in the editing practice an aesthetic understandingof fiction and non-fiction formats.

5. Import stills, graphics, video and sound files of variousformats into an editing project and create outputsfor different platforms

An intermediate module introducing students in practical, theoretical and artistic terms to detailed aspects of camera, lighting and related studio equipment/rigs in both the studio and on location, including for shooting green screen productions.

1. Operate in a safe manner a range of tungsten and LED lighting systems within the studio for filming purposes.

2. Differentiate between a range of commonly used camera rigs such as dolley/tracks, jib and shoulder mount f and operate them in a range of shooting situations.

3. Use, configure and experiment with use of digital film cameras (Sony) used on the course, in a collective crewed setting.

4. Appraise and apply advanced shooting formats such as Log and RAW, in terms of recording, onset viewing requirements, and data wrangling of rushes.

5. Weigh and evaluate the range of technical factors that lie behind the control of light and camera in the production of specific visual meanings.

6. Execute creative control over shot-type through lens choice and use of dynamic camera movement.

7. Recognize and implement a range of crew roles in the camera department for the production of project work for assessment.

8. Demonstrate understanding of shooting for green screen in terms of the necessary control over lighting and camera angles to match the needs of backing plates in post-production.

Script 2 will give students an in depth overview of the history of dramatic paradigms, and how they align with recent Irish screenplays and the student\s emerging writing style.

1. Demonstrate an in depth understanding of the elements of dramatic narrative form.
2. Apply the fundamental elements of Aristotle’s Poetics and how they align to scripts.

3. Implement the skills needed to assimilate notes when developing characters, outlines, dialogue and scripts.

4. Critique the fundamental elements of Robert McKee’s Storyand how they align to scripts.

5. Differentiate beats, scenes, sequences and acts and how they align to both produced Irish screenplays, and their own writing.

This module is designed to provide learners with the support and tuition to pursue independent research and writing leading to specialist knowledge on a selected topic within their Media discipline. On completion of this module students should have an understanding of the theory, concepts, sources and methods pertaining to a selected field of Media that they have chosen for the purposes of compiling a 7,500-word long dissertation based on original research.

1. Develope an understanding of the theory, concepts, sources and methods pertaining to a selected field of mediathat they have chosen for the purposes of compiling a 7,500-word long dissertation.

2. Acquire a detailed knowledge and understanding in a specialised area of Media, relevant to their programme and electives.

3. Possess the kind of knowledge required to design, execute and complete an independent written piece of Media research using both primary and secondary sources.

4. Appraise literature across the various disciplines concerned with their Media research topic.

5. Differentiate between both descriptive and analytical techniques and apply towritten narratives, and comprehend many practical and organisational problems associated with conducting independent work.

6. Act effectively under guidance in a peer relationship with their dissertation supervisor.

7. Defend research findings to a panel in a VIVA. This will provide them with an intellectual opportunity to verbally and graphically explain the rationale behind their choice of dissertation topic, the methodologies of their investigation, their key research findings, and the validity of their conclusions and recommendations. Oral discussion of the work will also enable the panel to evaluate the students overall grasp of the issues raised in the dissertation, and to gauge their understanding of any limitations over the nature and scope of the research undertaken.

This module will deliver to the learner project pitching and promotional skills and introduce the concept of entrepreneurship: From sourcing funding for a project, to running a production company.

1. Convincingly pitch a project idea in writing

2. Generate marketing tools specific to individual projects.

3. Develop and author promotional PR text for a specific project.

4. Outline the entrepreneurial role of the producer.

5. Proficiently and persuasively complete an application form for project funding.

6. Investigate and evaluate sources of funding for media projects, films, and start-ups.

This module focusses on how to manage and monitor the key aspects of a media project: People, Time and Resources.

1. Construct a production schedule for a media project.

2. Develop and design the production pipeline for a project.

3. Appraise the propriety and efficacy of various troubleshooting methods formedia projects

4. Implement best practices in planning (budgeting and scheduling) for a media production

5. Identify the elements of the key stages of the production process.

Small Screen Studies takes the student from the historical and social background and impact of terrestrial TV drama, through to the greatly changed and varied contemporary modes of small screen formats, platforms and delivery.

1. Critically analysethe complex role of drama in terms of culture, society, and social history.

2. Critically analyse the themes of ideology, class and community in small screen drama.

3. Critically analyse the modes of representation of gender, race, and identity.

4. Examine the altered state of small screen viewingonnew media platforms.

5. Examine attitudes and reception to the increasing proliferation of reality and lifestyle programming.

6. Examine the relationship between social media interaction and small screen production and viewing.

7. Demonstrate an awareness of differing viewing habits across different demographics.

This module will enhance the critical and analytical skills of the learner through the examination of film style, approaches and social context.

1. Demonstrate a detailed understanding of how to analyse and evaluate films.

2. Outline the stylistic features, aesthestics and politics of various National cinemas.

3. Identify the key debates within film interpretation and analysis.

4. Locate and review contemporary European Cinema.

5. Participate in and contribute to seminars and discussions on Film theory.

Students will learn and embed the grammar of narrative cinema, building on second year's knowledge of working with a crew, they will learn more about casting and directing actors. They will work in groups (crews) to make more ambitious short fiction productions on campus and/or on location off campus. They will learn about historical and contemporary auteur filmmakers and analyse how they made their first shorts and feature films. Students will be prepared for industry with professional practice workshops on pitching, distribution and other skills. The module is delivered through lectures, workshops, screenings, tutorials and practical projects, on and offline.

1. Apply procedural knowledge of the use of POV, blocking, camera motivation, and compositional relationship.

2. Execute a casting session and analysean actor’s potential and directability.

3. Demonstrate the critical thinking required for self-evaluation of work through all the stages of production.
4. Plan and Produce, employingsuitable soft skills of communication and collaboration to work successfully as part of a team.

5. Exemplify how to direct an actor, in rehearsal and on a film set

6. Generate an understanding of previsualising their department’s role(s) creatively and technically

7. Explain and execute apitch for a film idea as a writer/director/producer to potential funders

8. Demonstrateprocedural knowledge and understanding ofthe worldof film exhibition and distribution

On completion of this module, the student will have acquired a thorough understanding of the practical, creative and personal skills necessary to propose, research and produce a professional short documentary. Drawing on and developing the learning from Film Practice 1: Documentary, students will advance their critical and conceptual understanding of the documentary form.

1. Advance the skill set and knowledge base acquired in Film Practice 1: Documentary.

2. Continue to develop the personal skills required to work within the media industry, with special emphasis on teamwork, organisational skills and management of projects.

3. Demonstrate the ability to critically assess one’s work in terms of evaluation and presentation.

4. Display a highly developed understanding of the nature, form and structure of the short documentary as a specific narrative form.

5. Identify and execute the practical, theoretical and critical requirements of creative documentary production.

6. Conduct independent research. Create and produce a project promo.

7. Prepare and present a professional documentary package for the commissioning process.
8. Recogniseand implement the requirements of production pitching for both the national and international broadcast/festival market.

9. Design and assemble anoriginal and imaginative project, taking itthrough the key phases of production.

An advanced course in the role and functions of Production Design, developing and refining creative and critical skills for film and broadcast productions.

1. Resolve a design brief from initial analysis and interpretation through stages of exploration and development to the formulation and evaluation of creative concepts and output.

2. Exhibit the self-confidence and self discipline in the planning, research, analysis and management of a design project. Monitoring the design elements and ensuring that all assets are preparedin accordance with the schedule.

3. Implement traditional and digital drawing techniques for construction.

4. Design, construct, budget and dress a three-dimensional spatial set as part of a design project ensuring damage limitation and successful completion of the project while demonstrating a thorough understanding of health and safety requirements.
5. Managea crew; delegating and administering tasks, safeguarding that the schedule is managed efficiently, while ensuring that the vision of the design is communicated effectively as a team.

6. Critical evaluation of their work and a curate a body of work. Identifying their unique aesthetic as a designer and applyingtotheir projects to reflect accordingly.

Advanced level scriptwriting for film and television, to develop extensive and critical knowledge in the form and creative process of writing for the screen examined in Craft Specialisations 3: Script.

1. Analyse film texts in the form of screenplays and proposals.

2. Create a Treatment or Half Hour Script from a pre-existing Irish show.

3. Identify and devise four storylines within a TV half hour script

4. Appraise and evaluate a peer’s emerging project.

5. Examine the dramatic shape of a TV series

6. Implement soft skills of encouragement, and provoking a story’s development.

7. Apply Volgler’s principles to one’s own emerging story.

8. Analyze theprinciples of Facade/Flaw within one’s story (as proposed by Laurie Hutzler)

This module follows the elective Editing 2 and is designed to elevate students' skills to an advanced level in digital editing. Participants will achieve fluency in practical and technical skills using a range of industry-standard software while developing a comprehensive and critical understanding of the principles and aesthetics of editing.

The module emphasises critical thinking and explores post-production workflows, allowing students to apply their skills to the post-production of projects across various modules. By the end of the three-year course, the aim is for students to be work-ready, equipped with both practical skills and unique creative abilities that will prepare them for successfully entering the industry.

1. Operate various industry standard digital editing software with technical fluency.

2. Apply advancedimage manipulation tools for fine-cutting, visual effects, colour grading, compositing and outputting for different platforms.

3. Demonstrate the critical thinking needed for self-evaluation and to carry on self-initiated research in the area of post production.
4. Implement an highly developed aesthetic understanding and formal analysis needed to shape fiction and non-fiction projects.

5. Relate extensive knowledge of the art of editing through independent research.

6. Apply cross-platform advanced skills and tools to function in a professional post-production role.

7. Demonstrate mastery of the technical skills, creative development and strategic delivery of final outputs to progress to post-graduate level coursework.

An advanced module exploring the development, rendering and integration of CGI animation and matchmoving in the 3D environment for cinematic level post-production. (Maya, Nuke, Syntheyes)

1. Experiment using observational and analytical skills with regard to the environmental factors necessary for the successful the creation of
photorealistic imaging.

2. Contrast their personal studio practice in relation to that of historical and contemporary practices.

3. Design and integrate CGI, matchmoving and live action into dynamic sequences for cinematographic
contexts using Nuke and Photoshop software.

4. Assemble a range of common CGI studio practices in LookDev/texturing/lighting animating and rendering for
cinematographic purposes using Maya software.

5. Organize and implement a range of professional post-production factors in terms of self-motivation, time-management and
communication skills necessary for the design of innovative visual solutions.

6. Develop source assets and formulate relevant software workflows required for the delivery of creative and original post-production
sequences for a range of cinematographic contexts.

7. Test the required parameters for generating and applying a camera solution to Matchmoving CGI with live action footage in Nuke software.

A further examination of location audio recording theory and techniques and an introduction to studio sound theory, operation, recording and mixing.

1. Demonstrate a good overall knowledge of audio recording processes and practices

2. Design and assemble a complete soundtrack for a short video piece

3. Show a highly developed understanding of designing and mixing sound for sync picture

4. Have an extensive knowledge of location sound recording for television and film

5. Use sound as an essential tool in the creation of an overall body of work

6. Demonstrate the ability to repair sound using stand alone processing

7. Demonstrate the ability to capture and assemble stereo soundscapes

8. Have grasped the principles of sound design for moving pictures

An advanced module in which students work to Dp level in a more detailed focus upon the aesthetics of visual images is required in combination with integrating more complex arrays of cinematographic equipment, including filming for VR and professional use of drones. At this level the emphasis is upon the creative role of DP as the author of light and images on behalf of the director, in the production of narrative meaning.

1. Critique the creative concerns of the cinematographer by presenting a short illustrated talk on a scene by a specific DP (from any genre), analyzing what was involved in producing the shot and why it was shot in such a way.

2. Develop (through practical assessed outcomes) the factors required to shape and modulate light in a manner sensitive to the expression of meaning and character within a given genre/documentary situation.

3. Differentiate via the submission of completed project work the narrative distinction when shooting for VR, compared to traditional frame-based modes of composition.

4. Organize and co-ordinate crew and multiple items of lighting and camera equipment simultaneously within situations requiring rapid, dynamic, and accurate camerawork.

5. Appraise and implement the demands of specific narrative to equipment choice, both through project work and accompanying developmental documentation.

6. Execute varying scales of production, from ECU static shots to large fluid WS situations.

7. Implement and take responsibility for crew planning, meeting, scheduling and rehearsing, prior to the shooting of work for assessment.