University of Essex

EA329-5-PS-LO:
Film

The details

Year: 2024/25

Department: East 15 Acting School

Campus: East15 (Loughton) Campus

Term: Spring & Summer

Level: Undergraduate: Level 5

Status: Current

Start date: Monday 13 January 2025

End date: Friday 27 June 2025

Credits: 15

Last updated: 02 March 2023

Requisites for this module

Pre-requisites: (none)

Co-requisites: (none)

Pre and / or co-requisites: (none)

Prohibited modules: (none)

Key module (requisite for): (none)

Key module for

BA W441 Acting and Contemporary Theatre

Module description

This module focuses on acting for camera. It also looks at writing and creating film and explores the differences as well as similarities to theatre.

You will be working with a professional practitioner with a wide experience in film-making including script writing, directing, producing and development. You will be asked to propose ideas for short films. These can be adaptations of scripts you have written originally for theatre as well as original ideas written specifically for this project.

Proposals will be selected and taken through a process of development into script writing. It will follow with crewing and casting in collaboration with technical members of staff. The project will culminate in two weeks filming in which you will have the opportunity to experience various roles in filming such as acting in films, writing, directing or crewing.

The final product will be edited as a short film that can be used as a show-reel for students after graduation.

Module aims

The aims of this module are:

To create a short film.

To provide experience in acting for camera.

To develop students’ ability to operate as members of a company – as both actors and makers.

To consolidate learned performance vocabulary and put it into practice in film.

To further develop students’ writing and performing skills.

To analyse and understand expectations of film work.

Module learning outcomes

By the end of this module, students will be expected to be able to demonstrate:

Expansion of acting skills - stretching and widening your acting abilities

Textual comprehension - understanding and interpretation of language, plot & characters - in film

Skills integration - ability to utilise varied disciplines within the context of film

Creativity - innovative responses to task and to opportunity

Ensemble

Flexibility & response to change – adaptation to the medium of film

Commitment - involvement and consistency - as an actor and as a member of the company

Self-assessment of performance - awareness of own strengths and weaknesses and ability to respond creatively to demand, opportunity & criticism

Achievement of the aims of the project

Module information

No additional information available.

Learning and teaching methods

Including number and format of contact hours, e.g. lectures, seminars, classes, practicals:- Students work with tutors in group classes, workshops and rehearsals Learning also takes place in feedback and group discussion on performances Independent study and research Verbal formative assessment and tutor feedback is given in group session Students receive written summative assessment and tutor comments at the end of the module. Students will have some work recorded as a short film

Bibliography

Berger, J. (2009) About looking. London: Bloomsbury. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2673604.
Brook, P. (1996) The empty space. New York: Simon & Schuster. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2254576.
Bettelheim, B. (1991) The uses of enchantment: the meaning and importance of fairy tales. Harmondsworth: Penguin.
Lecoq, J. et al. (2002) The moving body: teaching creative theatre. London: Methuen. Available at: http://dx.doi.org/10.5040/9781474244800?locatt=label:secondary_bloomsburyCollections.
Mamet, D. (1998) True and false: heresy and common sense for the actor. London: Faber & Faber.
McKee, R. (1997) Story: substance, structure, style and the principles of screenwriting. New York: ReganBooks.
MacDonald, I. (2008) Revolution in the head: the Beatles’ records and the sixties. 2nd rev. ed. London: Vintage. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=683850.
Pinker, S. (1995) The language instinct: the new science of language and mind. London: Penguin.
Fromm, E. (1951) The forgotten language: an introduction to the understanding of dreams, fairy tales, and myths. New York: Grove Press.
Harari, Y.N., Purcell, J. and Watzman, H. (2015) Sapiens: a brief history of mankind. London: Vintage Books.
Pullman, P. (2017) Dæmon voices: essays on storytelling. Edited by S. Mason. Oxford, UK: David Fickling Books. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=5116586.
Furse, A. (2024) Performance Making. London: Taylor & Francis Ltd.
Wright, J. (2006) Why is that so funny?: a practical exploration of physical comedy. London: Nick Hern Books.
Chekhov, M. and Gordon, M. (1991) On the technique of acting. New York, NY: Harper Perennial.
Goleman, D. (1996) Emotional intelligence: why it can matter more than IQ. London: Bloomsbury. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=5291911.
Cohen, B.B., Nelson, L. and Smith, N.S. (1993) Sensing, feeling, and action: the experiential anatomy of body-mind centering. Northampton, Ma: Contact Editions.
Calais-Germain, B. (1993) Anatomy of movement. Seattle: Eastland Press.
Hackney, P. (1999) Making connections: total body integration through Bartenieff fundamentals. New York: Routledge. Available at: https://www-taylorfrancis-com.uniessexlib.idm.oclc.org/books/9780203214299.
Newlove, J. (1993) Laban for actors and dancers: putting Laban’s movement theory into practice?: a step-by-step guide. New York: Routledge.
Newlove, J. and Dalby, J. (2004) Laban for all. London: Nick Hern.
Olsen, A. and McHose, C. (2004) Bodystories: a guide to experiential anatomy. Hanover, NH: University Press of New England. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=6359575.
Clayman, C.B. (1995) The human body: an illustrated guide to its structure, function, and disorders. London: Dorling Kindersley Pub.
Richards, T. (1995) At work with Grotowski on physical actions. London: Routledge. Available at: http://www.taylorfrancis.com/books/9780203360231.
Wolford, L. and Schechner, R. (2001) The Grotowski sourcebook. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=1539237.
Grotowski, J. and Barba, E. (1991) Towards a poor theatre. London: Methuen Drama. Available at: http://www.taylorfrancis.com/books/9780203819814.
Gutekunst, C. and Gillet, J. (2014) Voice into acting: integrating voice and the Stanislavski approach. London: Bloomsbury Methuen Drama.
Crystal, D. (2004) The stories of English. London: Allen Lane.
Crystal, D. (2019) Pronouncing Shakespeare: the Globe experiment. 2nd edn. Cambridge: Cambridge University Press. Available at: https://doi-org.uniessexlib.idm.oclc.org/10.1017/9781108566759.
Dimon, T. (2018) Anatomy Of The Voice: An Illustrated Guide for Singers, Vocal Coaches, and Speech Therapists. North Atlantic Books, U.S. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1571344.
Sharpe, E. and Haydn Rowles, J. (2009) How to do accents. 2nd ed. (rev.). London: Oberon Books. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/614737.
Sharpe, E. and Haydn Rowles, J. (2011) How to do standard English accents. London: Oberon.
Rodenburg, P. (2005) Speaking Shakespeare. London: Methuen.
Berry, C. (1992) The actor and the text. New and rev. [ed.]. New York: Applause Books. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/93084.
Carey, D., Carey, R.C., and Royal Academy of Dramatic Art (Great Britain) (2022) The vocal arts workbook: a practical course for developing the expressive actor’s voice. 2nd edition. London: Methuen Drama. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/1072581.
Houseman, B. (2002) Finding your voice: a step-by-step guide for actors. London: Nick Hern. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=4779727.
Linklater, K. (1976) Freeing the natural voice. New York: Drama Publishers.
Linklater, K. (2009) Freeing Shakespeare’s voice: the actor’s guide to talking the text. London: Nick Hern Books. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=896778.
Carey, D. and Carey, R.C. (2015) The Shakespeare workbook and video: a practical course for actors. London: Bloomsbury Methuen Drama. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/580357.

The above list is indicative of the essential reading for the course.
The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students.
Further reading can be obtained from this module's reading list.

Assessment items, weightings and deadlines

Coursework / exam	Description	Deadline	Coursework weighting
Coursework	Continuous Assessment

Additional coursework information

Holistic continuous assessment through observation of contribution to class work, rehearsals and performance. The assessment criteria for this module are the extent to which students can demonstrate advanced understanding of the module Learning Outcomes.

Exam format definitions

Remote, open book: Your exam will take place remotely via an online learning platform. You may refer to any physical or electronic materials during the exam.
In-person, open book: Your exam will take place on campus under invigilation. You may refer to any physical materials such as paper study notes or a textbook during the exam. Electronic devices may not be used in the exam.
In-person, open book (restricted): The exam will take place on campus under invigilation. You may refer only to specific physical materials such as a named textbook during the exam. Permitted materials will be specified by your department. Electronic devices may not be used in the exam.
In-person, closed book: The exam will take place on campus under invigilation. You may not refer to any physical materials or electronic devices during the exam. There may be times when a paper dictionary, for example, may be permitted in an otherwise closed book exam. Any exceptions will be specified by your department.

Your department will provide further guidance before your exams.

Overall assessment

Coursework	Exam
100%	0%

Reassessment

Coursework	Exam
100%	0%

Module supervisor and teaching staff

Supervisor:

Teaching staff:

Contact details:

Availability

Available to incoming Essex Abroad / Exchange students: No

Available to Outside Option: No

Available to Audit: No

External examiner

Name: Ms Isobel Beatrice Pemberton

Resources

Teaching materials: Available via Moodle

Lecture recording: No lecture recording information available for this module.

Further information

Department website: East 15 Acting School

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Module Directory

EA329-5-PS-LO:Film