FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 339 | Course Introduction and Application Information
| Course Name |
Producer's Craft
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 339
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
|
|||||||
| Course Language |
English
|
|||||||
| Course Type |
Elective
|
|||||||
| Course Level |
First Cycle
|
|||||||
| Mode of Delivery | - | |||||||
| Teaching Methods and Techniques of the Course | DiscussionProblem SolvingCritical feedbackLecture / Presentation | |||||||
| Course Coordinator | - | |||||||
| Course Lecturer(s) | ||||||||
| Assistant(s) | - | |||||||
| Course Objectives | This course aims to teach students organization needed to meet the visual, dramatic, financial, legal, logistical, managerial, and technical challenges that producers will need to address during the filmmaking process. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course attempts to provide a hands-on overview with special focus on the producer's leadership within the creative process.This course aims to teach the students producers’ roles and functions in filmmaking and media production. These administrative and organizational roles and functions start with the idea development and funding, continue in planning and production of the media work, and include post-production and marketing stages. |
|
|
Core Courses | |
| Major Area Courses | ||
| Supportive Courses |
X
|
|
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction and overview of course | |
| 2 | Producer vs executive producer vs. line producer. Reading: first three chapters, Producing for TV and New Media: A Real‐World Approach for Producers | In class assignment: Bring a film, analyze the credits. |
| 3 | The film production process from A to Z. Reading: First four chapters: So You Want to Be a Producer | Assignment 1: Find a story for development |
| 4 | Finding a script: research, reading: Film Production Technique: Creating the Accomplished Image, Chapter 12. 273-293. | |
| 5 | Project development, writing a treatment | Assignment 2: write a treatment |
| 6 | Creative Team - hiring crew, script writer, director, actors | Presentation 1: Present your film treatment |
| 7 | Pitching | Presentation 2: Pitching a project |
| 8 | Midterm (Written Essay Exam) | |
| 9 | Legal issues, production scheduling | |
| 10 | Problem solving, diplomacy, negotiations, role of the line producer | Assignment 3: Create a budget and explain |
| 11 | Distribution - festivals, creating marketing materials | |
| 12 | Marketing -tools to get the film out to the public | Develop a festival entry plan and marketing roll out for your film |
| 13 | Putting it all together - dossier of documents | |
| 14 | Final Presentation | Presentation 3:final project presentation |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | Eve Light Honthaner, The Complete Film Production Handbook, Focal Press, 4th edition, 2010. ISBN: 978-0240811505
Bruce Mamer, Film Production Technique: Creating the Accomplished Image, 5th edition 2009.
Cathrine Kellison, Producing for TV and New Media: A Real‐World Approach for Producers, Focal Press, 2nd edition, 2009 ISBN: 978-024081897 Lawrence Turman. So You Want to Be a Producer. Crown; First Edition edition, 2005
Reed Martin. The Reel Truth: Everything You Didn't Know You Need to Know About Making an Independent Film Farrar, Straus and Giroux; 1st edition, 2009 John J. Lee Jr. The Producer's Business Handbook: The Roadmap for the Balanced Film Producer (American Film Market Presents) Routledge; 4th edition, 2017. |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
3
|
45
|
| Presentation / Jury |
3
|
45
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
7
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
1
|
16
|
| Study Hours Out of Class |
0
|
||
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
3
|
12
|
36
|
| Presentation / Jury |
3
|
12
|
36
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
120
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
|||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
|||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
|||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
|||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
|||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
|||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
|||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
X | ||||
| 12 | To be able to use a second foreign language at the medium level. |
|||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
|||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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