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Script Editing
Masters Degrees (Script Editing)
"script" AND "editing"
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MA Screenwriting
Edinburgh Napier University
School of Arts & Creative Industries
Create a portfolio of scripts, develop skills in writing, editing and project development and gain working knowledge of the film, television and digital fiction industries.
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Create a portfolio of scripts, develop skills in writing, editing and project development and gain working knowledge of the film, television and digital fiction industries.
MA Screenwriting was launched at Edinburgh Napier in 2006 and has adapted and developed since to remain one of the strongest screenwriting Masters courses on offer in the UK. The degree is accredited by Creative Skillset and taught at Screen Academy Scotland - one of only three Creative Skillset Film Academies in the UK and the only one outside London.
While the course is primarily for aspiring screenwriters, it is also aimed at those interested in script editing, script development and creative producing.
Teaching staff are working screenwriters and producers and there are regular visits from professional writers, producers, directors and those working in script editing and development.
See the website
What you'll learn
The course has developed a strong international profile, attracting a diverse range of students and as a student at Screen Academy Scotland you will be part of a large and thriving film community.
Collaboration is encouraged and our MA Screenwriters work closely with students on the MA Film programme as well as students at Edinburgh College of Art.
The course will develop skills in screenwriting, creativity, analytical thinking, academic writing, professional writing for film (script reports, coverage), editing and developmental skills.
In summary, the MA Screenwriting:
• takes a general approach across film, television and other media
• develops the core craft skills for screenwriting
• enhances script editing and story development skills
• places teaching and student work in an industry context
• introduces students to staff and industry guests working as writers, producers, directors and in script development at a high, professional level
The course is taught two days a week (currently Thursdays and Fridays). Part-time students attend classes on Thursdays in Year 1 and Fridays in Year 2.
Please visit the Screen Academy Scotland website for more details on our programmes, students and industry activities.
• Writing and Screen Project Development (craft skills)
• Business of Screen Project Development (industry context)
• Script Workshop 1 and 2 (practical screenwriting)
• Script to Screen (theory and critique)
• Interactive Media or Graphic Fiction
• Major Project (feature film or long form TV script)
Study modules mentioned above are indicative only. Some changes may occur between now and the time that you study.
Our students have gone on to success in various competitions, winning the PAGE International Screenwriting Award for five years. Former graduates work as self-employed writers for television drama and have gone on to find agents. Others are working professionally in script development and production.
You can find more details on the Screen Academy Scotland website
How to apply
SAAS Funding
Nothing should get in the way of furthering your education. Student Awards Agency Scotland (SAAS) awards funding for postgraduate courses, and could provide the help you need to continue your studies. Find out more:
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National Film & Television School
National Film and Television School
Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find.
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Digital technology has transformed the editing process, yet it has also dramatically diminished the role of the assistant editor so that opportunities to learn the art of editing as an apprentice are increasingly hard to find.
Quick Facts:
2 Year Course
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students
Visit the website
- Unique course in UK.
- Creative and technical skills developed.
- Study in a collaborative, filmmaking environment.
- Students assigned individual editing suites.
- The NFTS is an Avid Education Partner.
- Unlike other schools, all production costs are met by the School.
This course commences in January each year. This course provides a thorough education in editing skills in a professional filmmaking environment. Editing students are encouraged to consider their craft as part of the whole process of film and television production and not merely as the final stage, making them true collaborators, not just efficient technicians.
The emphasis of the Editing curriculum is firmly on storytelling and the relationship between editor and director. Students learn to apply their craft to the demands of fiction, documentary and animation, creating visual narratives while working with sound, music and, where appropriate, special effects. Workshops with other departments develop concepts of visual storytelling, mise-en-scène, storyboarding, sound design, music and scriptwriting.
Editing graduates have a high rate of employment on feature films, shorts and television programmes. Many new graduates quickly become editors on independent productions or assistant editors on features or TV drama, while others gravitate to visual effects, promos and i-dents. One recent graduate was joint winner of the Best Young Editor Award at Broadcast Magazine's B+ Awards. Recent graduate editing credits include Florence Foster Jenkins, Our Kind of Traitor, The Queen, Hannibal Rising, Reprise at the cinema and Downton Abbey, Paul Merton in China, Holby City, Hustle, CSI: Crime Scene Investigation and Spooks on television.
Acting Head of Editing is Robin Sales, whose numerous credits include Walking On Sunshine, The Gruffalo, Miss Potter, Johnny English, Miss Brown.
Editors Lucia Zucchetti (The Queen; Mrs Henderson Presents), Alex Mackie (Downton Abbey; St Trinian's; CSI), David Freeman (The Full Monty), Peter Lambert (A Better Life; New Moon), Nicolas Chaudeurge (Wuthering Heights; Fish Tank; Red Road), Valerio Bonelli (Hannibal Rising; Cemetery Junction; Gladiator), Nick Fenton (Submarine; The Arbor), Claire Dodgson (Minions, The Lorax, Charlie and Lola) and Ewa J Lind (Far North; The Warrior) studied here.
- With Sound Design and Composing students Abstract Film Workshop
- Without Images - a sound-only project
- Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
- Modules and workshops include Foundation exercises for fiction and documentary editing
- Storyboarding workshop with Animation students Short documentary
- Zen and Beyond - fiction workshop focusing on visual storytelling
- Comedy Workshop - workshop using rushes from a feature film and focusing on editing for comedy and/or drama
- Animation Project - developed and produced to a soundtrack Investigative Documentary - the major first year documentary production First Year Film - the major 1st year fiction production collaborating with all other departments
- Fiction editing exercise focusing on drama editing and co-editing using complete rushes from a feature film
- 2nd year fiction production, shot on a digital format
- Graduation films in documentary, fiction and animation
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
The Editing course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications.
You are likely to have some Industry experience or training in your chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of film and video editing, taking you to a higher level of work.
- A DVD no more than 15 minutes running time, of material originally shot on film or video edited by you the applicant. If dialogue is not in English or the DVD does not have subtitles you should send a dialogue transcript in English via email.
- A creative video montage on DVD of found images (obtained from the television, the internet or another source) or existing film footage edited with a soundtrack. The montage should be between 2 and 5 minutes running time, edited by you the applicant. If you do not have access to an editing facility please create a montage of collected photographs which when laid out together tell a story.
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Writing & Producing Comedy (PGDip)
National Film & Television School
National Film and Television School
The UK has a world leading comedy pedigree, but no industry recognised comedy training course - until now.
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The UK has a world leading comedy pedigree, but no industry recognised comedy training course - until now. The new 18 month part-time NFTS Diploma in Writing and Producing Comedy will enable students to develop all forms of scripted and unscripted comedy including, sitcoms, sketch shows, and panel shows for radio and tv. The course is run in partnership with Channel 4.
Quick Facts
- 18 Month Course
- Part-time
- Course starts in January
- Next intake: January 2017
- UK and EEA applicants only
- The world's first Diploma course in Writing and Producing Comedy.
- Delivered in partnership with Channel 4
- Part-time, evening course
- Regular Industry speakers
- Develop and write an original show and make a taster tape.
Visit the website
This course commences in January each year. Students will be taught by NFTS writing and producing tutors supported by guest sessions from the people responsible for some of the UK's most iconic UK shows including Peep Show, Father Ted, Have I Got News for You, Spitting Image, Horrible Histories and Green Wing.
The course advisory board includes:
Ash Atalla – The Office, Cuckoo, Trollied
Dawson Bros – The Peter Serafinowicz Show, That Mitchell & Webb Look, Big School
Sam Bain - Peep Show, Fresh Meat, Rev
Richard Boden – Blackadder, 'Allo 'Allo, IT Crowd
Gregor Cameron – Katy Brand's Big Ass Show, Fighting Talk
Saurabh Kakkar – Head of Development – Comedy – Big Talk
Graham Linehan – Father Ted, IT Crowd, Count Arthur Strong
Arabella McGuigan – Smack the Pony, Brass Eye
Caroline Norris - Horrible Histories, The Armstrong & Miller Show, Dead Ringers
John O'Farrell – Spitting Image, Have I Got News For You, Novelist
Richard Preddy – Green Wing, Campus
Lucy Robinson - Co-Founder Little Comet Film & TV/Head of Comedy Brothers and Sisters
Helen Spencer -Salford Comedy Festival, Salford Sitcom Showcase, Jesting About
Lorna Watson & Ingrid Oliver – Watson & Oliver
The course is part-time (one evening a week and occasional Saturdays) over eighteen months and is delivered in central London. You will be expected to spend at least 8 hours a week working on assignments for the course. You will leave the course with a portfolio of material developed during the course, this could include a ten-minute taster tape of an idea you have developed, or a full script and some sketches and one-liners.
Specifically you will learn about:
- Comedy landscape
- Radio comedy
- Sketches
- Panel shows and formats
- Characterisation
- Story structure
- Narrative TV comedy
- Script editing
- Topical one-liners
- Outlines and treatments
- Pitching
- Commissioning processes
- Working with performers
- Compliance issues
- Working with writers
- Writing briefs
Students graduate able to:
- generate comedy programme ideas
- write or produce a narrative comedy, sketch show or comedy entertainment show
- pitch ideas to commissioning editors
- work with writers and help them develop their ideas
So you think you're funny? Apply Now!
The NFTS want to encourage applications from the brightest and best talent out there….from all backgrounds. We are actively seeking to redress imbalances within the Industry by encouraging applications from under-represented groups, and have bursaries of £4650 on offer to 2 of the successful candidates. Bursaries will be awarded to stand out talent who can demonstrate that without this funding they would not be able to afford the course, or who can demonstrate they bring a unique and distinct perspective and voice to the course.
The course is made up of a number of modules and workshops, you learn by 'doing' as well as understanding theory and developing a variety of practical and creative skills.
Module 1: Writing and producing sketch shows A sketch needs a premise, a core funny idea that is its reason to exist. As soon as a sketch begins, the audience looks for this premise and it needs to be apparent. You will learn how this works by writing sketches for different shows and getting feedback on them from established sketch performers and producers. You will have your material read by experienced sketch performers, and the chance to have your material performed for an invited audience.
Module 2: Topical one-liners, formats and panel shows. Topical one-liners for Have I Got News for You, The News Quiz and other topical shows is often the entry point for writers. You will learn by a mixture of practice, theory and feedback, the basics of writing topical jokes. You will learn how to develop your own format or panel show idea.
Module 3: Radio Comedy Many comedy writers and producers have worked in both television and radio with many shows starting out on radio and moving to television. It is the entry point for many established comedy writers and producers. You will develop and test your skills by developing material for Radio 4 and pitch ideas to radio comedy producers.
Module 4: Writing/Producing an existing sitcom You will learn about writing for a situation and a bunch of characters that already exist, concentrating on pitching appropriate story ideas to the creators of those shows. You will also learn about script editing and how to give notes.
Module 5: Writing a TV narrative comedy You will develop an idea for a television narrative comedy (sitcom), pitch it, and write the first draft of a script.
Module 6: Graduation project Working on your own, or in a pair, you will develop a sitcom, comedy drama or sketch show for TV or radio. You will write one episode, and either shoot a taster tape or have some scenes performed by professional actors or produce a radio show.
Comedy course participants will have full access to the NFTS' optional creative stimulus strands, including: Passport to Cinema (weekly screenings of classic and pre-release films in the state-of-the-art campus cinema); and NFTS Masterclasses (major creative figures from film, television and games screening their work and discussing with students in the campus cinema. Recent speakers include Graham King (producer, Hugo, The Departed), Guy Ritchie (Director, Sherlock Holmes), Danny Boyle (Director, Slumdog Millionaire) and Ian Livingstone (former President and CEO, Eidos).
Many of the people on the course advisory board will also teach on the course. In addition the course is supported by Channel 4 commissioners and executives.
- Two TV or radio sketches of no more than 400 words each. One of these should be set on a polar landscape.
- An outline for a comedy series, no more than 600 words
- Two short proposed story outlines for an existing sitcom. Each of the 2 episode outlines should be no more than 200 words. The sitcom we want you to write for is Bluestone 42
Each of your 2 stories should have a beginning, middle and an end. Make sure you do your background research and ensure you understand how Bluestone 42 operates as a sitcom
You can apply directly to us at the NFTS by clicking on the link below:
You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.
We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.
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MA Scriptwriting
Bath Spa University
School of Humanities and Cultural Industries
This is a professional training course for working writers. Most scriptwriters work across several media, and the course reflects this.
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This is a professional training course for working writers. Most scriptwriters work across several media, and the course reflects this. All our tutors are award winning writers with an insight into what it takes to make it in the industry. We aim to turn out writers who understand the structure and craft of drama, have a finished script they can use as a calling card, know the industry in all its variety, and can pitch and sell their work.
The MA is taught in seventeen weekends of intensive workshops. It is not, however, 'low residency'. There are as many hours of teaching as on Bath Spa University's established MA in Creative Writing.
The course is taught at our beautiful Corsham Court campus where we have state of the art performance, capture and editing facilities. Our students also have opportunities to see their work for the stage performed and to shoot excerpts from their screenplays. We work closely with the School of Music and Performing Arts, and their students will have the opportunity to help act in and produce our work.
Although this is an intellectually challenging postgraduate course, there is no 'academic' side detached from the working side. Everything theoretical is geared to help the students as writers.
The MA in Scriptwriting also offers each of its students a free copy of Final Draft scriptwriting software, a must for professional Scriptwriters.
The course is full-time from October to September, or part-time over two years, and is taught in modules. The first trimester runs from October to January and there are two modules, each delivered in three intensive weekends.
One is the module on Dramatic Structure. This aims to give you an understanding of the full range of ways that plays and scripts can work. You are introduced to dialogue, character, genre, and the different media. But the emphasis is on how to tell a story - a well made plot. Students will read and view widely, but the academic side is not separate from the working side. This module is to help you write.
The other module in the first trimester is a workshop in Writing Theatre and Radio. This is delivered in three intensive weekends. All of the time is devoted to the students' own work, and much of the time we work on our feet. At the end of the trimester each student finishes a 45 to 60 minute play or radio script, and a 3,000 word essay that explains the structure of that script.
The second trimester, from February to June, also has two modules. One is Professional Skills, again over three intensive weekends. All our experience is that the ability to write alone is not enough to make your way in the various industries of theatre, television, film and radio. You also need to be able to pitch, and to talk intelligently and flexibly about your own work and others'. One of our tutors facilitates this module, and various industry professionals come in for a day each to inform, rehearse and challenge you.
The other module this trimester is Workshop in Screenwriting, also over three weekends. Here you write a script for film or television. We pay particular attention to genre, to the visual and time requirements of the screen, and to writing for particular markets. At the end of this trimester each student finishes 50 to 60 minutes of TV, or a short film script, or a treatment for a full-length film plus at least 45 minutes of polished script.
The third trimester runs from June to the end of September. Here there is only one double module, the Final Script Workshop. The workshops meet over five intensive Saturdays.
In this module each student writes a full length play, a full length film script, or the equivalent in television or radio. This script can be a development and reworking of earlier pieces, but will often be completely new work. At the end of September students submit this script.
The final assessment is based on four things. The most important is this script. The second is a 1,500 word essay explaining exactly where in the market it is aimed and how it is shaped to fit that niche. The third is a cold pitch for this script. When we speak of the market, we are thinking quite broadly. Some students will want to write for Hollywood, British independent films, soap operas, or theatre. Others will want to write radio plays, documentaries, puppet shows, theatre in education, training videos or school plays. The emphasis is, however, always on getting your work to a stage where it is ready to be produced. The fourth is a practical realisation of a short excerpt of an original work stage, screen or radio play. Students are expected to co ordinate this realisation themselves with advice and support from their tutor and using the University's resources.
All courses will be taught by intensive workshops. Over the years we have found this is far and away the most productive way of teaching writing. It is particularly suited to scriptwriting, which is very much a social and collective art.
Tutors and visiting professionals:
All of our tutors are writers working in the industry. Among those working on the course will be:
• Ursula Rani Sarma (Course Director) writer for theatre, radio and screen
• Steve May who writes radio and novels
• Lucy Catherine who writes theatre, television and film
• Robin Mukherjee who writes theatre, television and film
• Hattie Naylor who writes film, theatre, radio and opera libretti
• Jonathan Neale who writes theatre, radio and novels
In the second semester we have visits from several professionals in the industry. Each conducts a one-day workshop with students, outlining the industry and giving them rigorous practice in pitching their work. Typically, we will have an agent, a TV producer, a radio producer, a theatre director or literary manager, and a film script editor.
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Script Writing (MA)
Goldsmiths, University of London
Department of Media and Communications
This programme focuses on the creative, analytical and professional aspects of script writing, in the context of the contemporary film, television and radio industries- http://www.gold.ac.uk/pg/ma-script-writing/.
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This programme focuses on the creative, analytical and professional aspects of script writing, in the context of the contemporary film, television and radio industries-
The MA Script Writing is accredited by Skillset (further to the Department's accreditation as a Skillset Media Academy) and currently receives funding to support some student bursaries.
The programme is ideal if you already have some writing experience, but want to develop professional skills and expertise as screen or radio script writers.
Develop your writing and story ideas
It's geared towards developing each student's own writing and distinctive voice, to enable you to pitch for employment and production funding in a highly competitive industry. The programme will help you develop your own story ideas to end up with a second draft dialogue script as the major part of your portfolio. It's a very intensive course designed to take your writing as far and as fast as it's possible to go within twelve months. Only about twelve students are accepted each year.
There is no preferred medium (film, television or radio), genre or style. That is up to you. There tends to be a wide range of students in terms of age, background and writing experience. But it is not a programme for students who want to try writing, but for those who are committed to developing their writing skills.
You complete the programme with a feature film or equivalent television or radio script. You also gain knowledge of the film, television or radio industries and some of the contacts necessary to market your projects.
A supportive and stimulating environment
The teaching for the practice courses (long form script, short script and script editing) takes place in workshops in which students share their own work and comment on each others. The programme is designed to provide a supportive, stimulating and constructively critical environment for all students to do their very best work.
Once you have made your application, if you would like to find out more about what its like actually being on the MA, please email the programme convenor to arrange a visit to meet some of the current students.
Programme highlights include
-All scripts in the short script module receive a reading from professional actors. These scripts are also eligible for the Goldsmiths Short Script Competition, from which four are chosen for MA Filmmaking students' final productions each year – and shown at BAFTA
-There is a mentorship scheme in place whereby students select and approach a mentor with the support of the programme convenor
-Specially invited industry speakers for the Olive Till memorial lecture each year. These have included Sir Alan Parker, the late Anthony Minghella, Michael Winterbottom, Gurinder Chadha, Danny Boyle, Stephen Frears, Paul Greengrass, Noel Clarke and Tim Bevan. Also there are visiting guest lecturer and masterclasses from Linda Aronson, Stewart Till, and others.
Contact the department
If you have specific questions about the degree, contact Julian Henriques.
Modules & Structure
A core course is designed to give you the skills and understanding required to develop your Treatment for a feature film or equivalent television or radio script. The course is taught mostly with workshops, in which you present and discuss your own work with other students in a supportive environment. There are also class exercises, lectures, screenings, master classes, seminars and individual tutorials.
Starting in the Spring Term, the course then develops your Treatment into a second draft feature script (or its equivalent).
You'll then be able to pick from a selection of option modules.
You are assessed on your portfolio, which consists of your long form treatment and second draft feature script or equivalent, your 4,000-word Reflection essay on this script, linked to issues in Media and Culture and a radio script adapted from a source text. In addition, depending on your options, your portfolio could also include a 10-12 page short script or script-editing proposal and coverage. Other modules are assessed by 5-6,000-word essays.
Please visit
for details.
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MA Scriptwriting
Bournemouth University
Faculty of Media & Communication
With a uniquely collaborative emphasis, this course offers opportunities for some of the scripts you develop over the course to be produced, through close collaboration with students from MA Producing for Film and TV, MA Directing for Film and TV and MA Radio Production.
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With a uniquely collaborative emphasis, this course offers opportunities for some of the scripts you develop over the course to be produced, through close collaboration with students from MA Producing for Film and TV, MA Directing for Film and TV and MA Radio Production. This equips you with the skills and attitudes required for successful script development processes in the industry. The course is busy, intensive and involves much teamwork alongside individual writing practice.
Throughout the course, you will develop your ideas from concept to industry standard final draft, with a development process that includes research, pitching, presentations, script reading and networking events, workshop groups, tutorials, script editing, and rewriting for production.
You will be encouraged to nurture and reflect on your creative process and originality of voice, and to explore the contexts – critical, creative and industrial that inform scriptwriting today.
The course is taught by scriptwriting professionals and theorists, alongside an exciting programme of industry guest speakers. The course is suitable for students who have previously developed their own creative writing projects within humanities or media production courses or with relevant professional experience.
Successful participation in MA Scriptwriting will enable you to emerge from the course as a writer with a distinctive authorial voice, an industry standard portfolio of scripts, experience of writing in formats and genres, and a robust attitude to collaboration and development.
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MA Creative Writing: Playwriting
University of Salford
School of Media, Music & Performance
Study for a postgraduate qualification provided in partnership with three leading UK theatres. Learn proven playwriting techniques from an established practitioner.
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Key benefits:
• Study for a postgraduate qualification provided in partnership with three leading UK theatres
• Learn proven playwriting techniques from an established practitioner
• Build valuable professional contacts.
Suitable for
The course is suitable for emerging writers, recent graduates or more experienced writers who are keen to develop their career as a professional playwright.
Programme details
This course is your opportunity to learn the fundamentals of playwriting from three of the UK's leading theatres:
The Royal Exchange Theatre, Manchester
The Liverpool Everyman and Playhouse
The Octagon Theatre, Bolton.
You will spend 50% of your time studying at these theatres. Plus you will receive instruction and guidance from a professional playwright and you will write several plays.
This course will give you a real-world insight into how theatres are run and how a professional playwright works in the industry.
Module titles
• Playwriting: the Professional Context
• Writing Workshop
• Playwriting: the Production Context
• Literary Research Practice
• Dissertation: Creative Project
Career potential
We anticipate that many of the graduates of this course will go on to forge successful careers as professional playwrights. Other typical career paths following graduation include writer, director, actor, producer, literary development and script editing, theatre administration and marketing, positions in the scriptwriting industry, and teaching.
Career Prospects
Graduates of in-house playwriting courses at the Royal Exchange Theatre, Liverpool Everyman and Playhouse and Octagon Theatre Bolton have gone to work as leading professional playwrights and work in other roles in the theatre, writing and arts industries. The Royal Exchange Theatre runs the UK's biggest playwriting award, The Bruntwood Prize, which has begun the careers of many emerging playwrights, while the Liverpool Everyman and Playhouse runs the Everyword Festival of new writing, and the Octagon Theatre Bolton has twice been awarded the Writers Guild Award for the Encouragement of New Writing. A number of graduates of the undergraduate Playwriting module at the University of Salford have gone on to professional experience and work as playwrights, writers, theatre producers, directors, actors, in theatre administration, for the BBC and in teaching.
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National Film & Television School
National Film and Television School
Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK's leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry.
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Educating producers is high on the agenda at the NFTS, and the involvement of several of the UK's leading film and television producers – NFTS Director Nik Powell, and governors Duncan Kenworthy and Simon Relph – ensures that students enjoy close links with the film and television industry.
Quick Facts
- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students
- Unique, fast-track route into the Industry.
- Each student produces at least three films.
- Professional standard studios.
- Working methods model Industry practice.
- Shadow a producer, distributor or sales company at the Cannes Film Festival.
- Unlike other schools, all production costs are met by the School.
Visit the website
The MA course in Producing is unique in the opportunities it gives and in its close links with the film and television industry, and provides a fast-track route into a producing career. Students develop their own relationships with successful producers through placements and a mentoring scheme. The BFI is supporting the course with development slate funding for students' adaptation projects, which they can then take with them and develop further when they graduate from the School. The Producing department aims to train creative, independent producers able to achieve an overall vision for their projects from script development through finance and production to sales and distribution. The course covers fiction production for both film and television and also animation, with students producing at least two short live action films and one animation in their time at the School.
Graduates work as producers of both film and television in the UK and other countries. New graduates typically combine first feature development with paid employment such as Assistant Producer on feature films, working in the development department of independent production companies, or producing short commissions for broadcasters. Deals struck with the BBC and other companies can see proposals from new graduates developed as feature films.
Development skills: script analysis and script editing; developing a project from source material; collaboration with writers and directors; pitching; negotiating the deal
Production skills: budgeting and scheduling; managing the production; post production techniques; editing, sound and music Business skills: publicity and marketing; sales, distribution and exhibition; co-production; financing; legal and financial (sponsored by Olswang)
Television: developing a proposal to a broadcaster's commissioning brief; the television commissioning process; financing a TV programme; multiplatform commissioning
Industry placements for students are encouraged in the summer break of the First Year. Also it is intended that production schedules will allow students in the Second Year to take up work placements at the Cannes Film Festival from which they can learn how the film industry functions on an international level. Each is allocated to either a producer, a distributor or a sales company who they are able to shadow.
In addition, all students are expected to choose an industry mentor who acts as a valuable contact who they can use to help them move into the industry.
The NFTS provides producers with privileged access to events and screenings at the London Film Festival where they have the opportunity not only to see the latest films but also to discuss them and meet other filmmakers as well. Each year a number of outside visits are arranged for producers.
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
The Producing course is supported by the McKenna Charitable Trust
Some of the UK's leading independent producers teach at the NFTS including, Karin Bamborough (Former Channel 4 Commissioning Editor), Myf Hopkins (Tombraider II (digital animation and visual effects) and Harry Potter and the Philosopher's Stone (Creatures Producer). The Producing department is led by Chris Auty (Stealing Beauty, Crash, In This World). The Director of the NFTS, Nik Powell (The Crying Game, Ladies in Lavender, Little Voice) also teaches on the programme.
Producing Alumni include:
Allan Niblo – CEO, Vertigo Films (Monsters)
Anna Higgs – Commissioning Editor, Film4.0
Jack Arbuthnott – Head, Film Development, Scott Free
Rebekah Gilbertson – (Patagonia, Edge of Love)
Polly Stokes – Cannes Select (For Those in Peril)
Tom Leggett – Film 4 Development Executive
James Walker – BAFTA British Short Animation Winner (Sleeping With The Fishes)
Read what our recent alumni have achieved (pdf file) -
- A proposal written by you for a feature film or TV drama, either original or adapted from a novel or other source. Tell us why you would like to make it and what you believe its audience appeal could be. If it is an adaptation please give us the title and author of the source material (one side of A4).
- A brief analysis of three films or television programmes that you have seen in the last 12 months. Include comments on the directorial style (one side of A4).
- An analysis of your favourite film or television programme and your personal response to it (one side of A4).
- Choose a British or European producer (film or TV) whom you admire, explain why (one side of A4).
- Describe briefly key lessons about producing you have learnt from any book about producing or producers that you have read. Please name the book. (One side of A4).
The application deadline has now passed, however there may still be a chance to apply. Please contact registry via email stating your name, course of interest and contact details:
[email protected]
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Composing For Film & Television
National Film & Television School
National Film and Television School
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices.
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The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices.
Quick Facts:
2 Year Course
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students
Visit the website
- Training in live and electro-acoustic music
- Students compose for wide variety of films
- Creative and technical skills developed
- Study in a collaborative, filmmaking environment
- Flexible curriculum adaptable to individual needs
- Individual music suites
- Professional standard post production facilities
- Recording sessions with live musicians Business, legal and professional skills taught
- Unlike other schools, all production costs are met by the School.
This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images.
Today's language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential.
The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry.
Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming.
Acting Head of Composing is the BAFTA-nominated composer (and NFTS graduate) John Keane, whose credits include Hornblower,Mansfield Park, Tara Road, Inspector George Gently, Hideous Kinky.
Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre.
The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals.
In year two, students' activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals.
A series of composing workshops combining practical exercises and seminars:
- Basic narrative techniques
- Midi, sampling and audio
- Combining music and sound
- Narrative with dialogue
- Non-fiction scoring
- Instrumentation and orchestration
- Composing to script
- Improvisation
Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians
Workshops with Sound Design and Editing students:
- Abstract Film Workshop
- Without Images - a sound-only project
- Animation exercises
- Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing drama rushes to learn the basics of scene structure
- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design
- First Year Film – the major 1st year fiction production collaborating with all other departments
- Investigative Documentary - the major first year documentary production
- Cross Spec - an introduction to film language and storytelling involving all departments
- Orchestration and recording with live musicians
- Improvisation
- Continued analysis of films
- 2nd year short fiction production, shot on a digital format
- Co-composing a feature film Graduation films in documentary, fiction and animation
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work.
Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film.
Application Criteria
On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD's sent to the school.
On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers.
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Sound Design for Film & Television
National Film & Television School
National Film and Television School
Graduates of this course win BAFTAs and multiple other awards every year.
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Graduates of this course win BAFTAs and multiple other awards every year. Our students have won the student section of the Los Angeles based Golden Reel Awards for best sound 13 times since 1996 (we won it again this year)! Sound Design students train in all aspects of audio post-production, developing the techniques and creative awareness required as dubbing editors, sound designers and dubbing mixers.
Quick Facts
- 2 Year Course
- Full-time
- Course runs Jan-Dec each year
- Next intake: January 2017
- NFTS Scholarships available for UK Students
- Most comprehensive course in sound available.
- Study in a collaborative filmmaking environment.
- Aesthetic and technical skills developed.
- Facilities rival professional post-production houses.
- Work on both live action and animation films.
- Unlike other schools, all production costs are met by the School.
Visit the website
The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process.
In 2016, an NFTS student won the Verna Fields Award for Best Sound Editing in the student category of the US Motion Picture Sound Editors Golden Reel Awards. This is the 13th time a graduating NFTS student has won this award in the last 20 years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry.
The course represents a steady progression beginning with the basic technology and skills that underpin and support the creative process and ending with the responsibility for sound design on a range of graduation films. At each stage additional skills are added through specific workshops - e.g. music recording, to provide a comprehensive education that is of great value in understanding and communicating with other industry professionals.
Using the latest equipment and technology, students work as sound designers on fiction, documentary and animation projects developing their skills in digital tracklaying and mixing.
A series of exercises focusing on sound editing and mixing techniques Workshops with Editing and Composing students:
- Abstract Film Workshop
- Without Images - a sound-only project
- Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing a scene to learn the basics of scene structure
- Short documentary - sound mixing
- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary Poetry - exploring the use of non- synchronous sound and music
- Animation projects - the application of music and sound effects
- 1st year Fiction film - collaborating with all other departments
- Cross Spec - an introduction to film language and storytelling involving all departments
- Investigative Documentary - sound post for the major 1st year Documentary production
- Remixing the 1st year Fiction film tracks
- Advanced editing, design and mixing techniques including surround sound mixing
- 2nd Year Fiction production, shot on a digital format
- Graduation films in documentary, fiction and animation
On the short films and 2nd Year films, Sound Design students work as sound supervisors, creating the track from pre-production through to the mix.
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
The course is led by Sound Designer Chris Pow. Tutors include Graham Hartstone (Aliens, Eyes Wide Shut, Die Another Day, The World is Not Enough), Paul Davies (We Need to Talk About Kevin, The Queen), Andy Kennedy (Game of Thrones, Sherlock Holmes, Harry Potter and the Half-Blood Prince), Adrian Rhodes (The Hollow Crown, Aardman's Pirates!, the Wallace and Gromit films) and Ian Morgan (Vinyl, North and South, Alien vs Predator).
Sound Designers Adrian Rhodes (The Queen, Wallace & Gromit: The Curse of the Were-Rabbit), Martin Jensen (The King's Speech, Atonement, The Fades), Paul Davies (We Need to Talk About Kevin, Hunger, The Queen), Miriam Ludbrook (The League of Gentlemen's Apocalypse, Sugar Rush), Stuart Hilliker (Jane Eyre, State of Play) and Lydia Andrew (Audio Director, Electronic Arts) studied at the NFTS.
- A DVD of no more than ten minutes running time, which you have recorded and/or track laid and/or mixed. This can be from a longer work.
- Those who do not have film/video experience: a narrative sequence of photographs, pictures or cartoons, with an associated speech, music and effects soundtrack recorded on audio CD, which demonstrates the way the applicant works creatively with the audio-visual relationship
- A sound montage made by the applicant on audio CD of approximately 3 minutes running time. It should include speech, but should not be limited to speech.
The application deadline has now passed, however there may still be a chance to apply. Please contact registry via email stating your name, course of interest and contact details:
[email protected]
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MA Feature Filmmaking
Bath Spa University
School of Humanities and Cultural Industries
The course teaches you how modern filmmakers make feature length projects and offers practical experience of making such projects.
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The course teaches you how modern filmmakers make feature length projects and offers practical experience of making such projects. We cannot guarantee that your project will get made and your success in academic terms will not depend upon you having completed a feature (although we are confident that many students will achieve this).
All students will graduate with a wealth of professional contacts, a stunning showreel, a fully developed feature film project and the knowledge and contacts for how to get ahead in the film business.
The aim is that at the end of the MA in Feature Filmmaking you will have received a through education in the needs and techniques of the micro -budget film business and have the skills to be able to negotiate favourable terms for your current (and future) feature projects to be distributed.
This MA is taught in an executive format of intensive workshops and seminars. You will be based at Bath Spa premises in Bristol and at the University's Corsham Court Centre in Wiltshire. These offer studio facilities and the latest editing software, lights and video cameras including Sony F3 and Canon DSLR 5D and 7D, together with first class tutorial and lecture rooms.
You should expect to work 12-14 hour days for six days a week when filming and editing. It is expected that most productions will involve 4-6 weeks for principal photography. The projects will then go into a period of editing of 10-12 weeks to arrive at a version of the film that is suitable for screening to distributors and agencies to seek further completion funding.
Workshop modules: These are practical and creative filmmaking workshops, which will give students the techniques for feature film production for low budget film production. In workshop modules students will be taught by BSU academic staff, with experience in documentary or drama production, and/or by industry professionals.
Context modules: Context modules are offered in the belief that filmmakers will only reap the rewards of their creative skills if they have an adequate understanding of the industry, the financial and legal frameworks and the operation of these systems. These are not modules that would be covered in an MA in Film Studies as they relate entirely to the business functions of the industry although you will investigate the power and dominance of the Hollywood studio system and its impact on narrative, for example. However you will then apply this knowledge to alternative funding models and tax regimes that European countries have adopted to combat Hollywood's dominance.
Feature development workshops: There will be two script/development workshops and up to 4 hours 1.1 mentoring during this period. Students on the part-time route will have the opportunity to collaborate on productions being filmed by full-time students during this period.
Practicum: This double module is where theory and practice come together in the production and postproduction of a feature length project.
• FM7001 From Script to Screen – low budget production techniques (Workshop): This module will introduce and explore practical and creative techniques, approaches and strategies of low budget feature documentary and fiction production. This gives an over view where key skills are developed building on students' previous knowledge. Each student will refine their personal project during this module by learning advanced editorial, scripting, stylistic approaches to feature film production.
• FM7002 From Pitch to Production - the international film business (Context): To compete in the global film business low budget practitioners will be required to understand the historical development business systems, procedures and models that influence the contemporary global film business. This model will allow filmmakers to understand how and why the Hollywood model still dominates feature film production.
• FM7003 Planning for Success – pre-production (Workshop): This module builds on the first two modules to give students the ability to further develop/rework/alter their main project in the light of the insights into low budget cinema techniques and how the international film business operates.
• FM7004 Finding an Audience – distribution techniques (Context): This module will give the students a thorough grounding in the theory and practice of contemporary marketing theory and practice as applied to film. The module will introduce traditional marketing theories and strategies on marketing communications, consumer behaviour, direct marketing and customer relationship marketing. It will then update these approaches with a focus on digital marketing techniques that use social networks to build networks of advocates prior to release that can produce a marketing momentum that allows low budget films to compete against Hollywood's blockbuster marketing clout.
• FM7005 Production & Postproduction (Practicum): This module is the culmination of the previous four modules. In this 16 week module students will turn their projects into a feature length production, building on the insights they have learnt over the course. The projects will normally need to be completed to an 'off-line' standard with a stereo mix.
Students will be assessed through continuous assessment. Assessment tasks will be varied , including group presentations, script development evaluations, industry reports, production folders, marketing reports and feature film project.
Your final mark for the production module will reflect the quality of the final submission and amount of input you have put into the combined project either as a producer or director. Your tutors will evaluate your creative and physical input to the project and your course based on your journals, tutorials, other students' submissions and any other submissions. In this sense a well-produced project can be awarded a distinction to the producer even if the director achieves a pass for his or her work.
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Creative Sound (Advanced Professional Diploma)
Leeds Beckett University
Faculty of Arts, Environment & Technology
From television, film and radio, to gaming, digital and online advertising, the demand for specialists who can use sound creatively has never been higher.
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From television, film and radio, to gaming, digital and online advertising, the demand for specialists who can use sound creatively has never been higher. This course will give you an understanding of the innovation and technology behind studio sound production and design.
You'll study the relationship between sound, music and image, and build your skills in sound production technology and music editing techniques. You'll develop the ability to produce original sounds and audio-visual media so you can create professional audio across a variety of media formats.
Our short course is a fantastic opportunity to learn from experienced music and film professionals in state-of-the-art studios. We're dedicated to providing you with hands-on, practical experience so you can produce your own work, developing your ability to deliver professional sound content to a specific brief.
Visit the website
Mature Applicants
Our University welcomes applications from mature applicants who demonstrate academic potential. We usually require some evidence of recent academic study, for example completion of an access course, however recent relevant work experience may also be considered. Please note that for some of our professional courses all applicants will need to meet the specified entry criteria and in these cases work experience cannot be considered in lieu.
If you wish to apply through this route you should refer to our University Recognition of Prior Learning policy that is available on our website (
Please note that all applicants to our University are required to meet our standard English language requirement of GCSE grade C or equivalent, variations to this will be listed on the individual course entry requirements.
We believe a short course can make a big difference.Employment opportunities could be open to you in sound engineering,performance, digital media, gaming, music for film and television, production,radio, composition, sonic art, and music marketing and PR. If you would like tocontinue your studies, we offer a range of masters courses, such as AudioEngineering or Sound Design.
- Sound Designer
- Composer for Media
- Studio Engineer/Producer
- Audio Producer (Film, TV, Gaming)
Careers advice:
The dedicated Jobs and Careers team offers expert advice and a host of resources to help you choose and gain employment. Whether you're in your first or final year, you can speak to members of staff from our Careers Office who can offer you advice from writing a CV to searching for jobs.
Visit the careers site -
Course Benefits
You might have just finished your degree, or be working in industry looking to acquire new skills for your professional development. Taught over four weekends in the year - Saturday to Monday - we've designed this course so that it fits around your lifestyle, requiring minimum time off work.
You'll have access to a suite of professional music studios, including recording rooms, audio booths, instruments, portable audio recorders, lab with soundcard and mixer, and computer workstations with software such as Sibelius, Pro Tools and SynthMaker, and music analysis tools.
You will access an impressive range of facilities at our Northern Film School, including production studios, edit suites, production offices, and film and script archive.
We also offer exciting short study opportunities in film, music and performing arts, taught during Easter and Summer. These creative workshops, ranging from two days to a week, are a great way to build your expertise for professional use, embrace a subject you're passionate about, or develop your skills before applying for one of our postgraduate qualifications.
Core Modules
Sound, Music & Image
Evaluate the relationships between sound, music and image, and create examples of audio-visual media to a professional standard.
Creative Sound Design
We will equip you with the expertise to develop audio-based artefacts in the fields of electro-acoustic music, sonic art and sound design.
Martin Briggs
Senior Lecturer, Music & Sound
"We believe the particular combination of staff experience and expertise, first class facilities, real world practical assignments, guest lecturers and industry networks, contacts and accreditation make our specialist courses in sound second to none."
Originally training in music and media, Martin has worked as both a performer and producer in music, sound recording, video production and live events. His current research is concerned with collaborative partnerships and working practices in music and sound creation. Whilst still working as a musician and arranger, he is also involved in the promotion of local community music workshops, performances and events.
- Sound recording & editing equipment
A comprehensive range of audio editing, composition and sound processing software is available.
You'll have access to a suite of professional music studios, including film composition and audio post production rooms, instruments, together with portable field recording equipment and extensive computer workstation facilities.
- Northern Film School
You will also be able to access an impressive range of facilities at our Northern Film School, including production studios, edit suites, production offices, and film and script archive.
- Library
Our Library is open 24/7, every day of the year. However you like to work, we have got you covered with group and silent study areas, extensive e-learning resources and PC suites.
Find out how to apply here -
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Creative Writing - MLitt
University of Glasgow
College of Arts
The Creative Writing programme at Glasgow has gained an excellent reputation amongst writers, agents and publishers. It is perfect for talented and aspiring writers who want to develop their craft, take risks in their work, and gain creative and critical skills; all as part of a supportive community of fellow writers.
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The Creative Writing programme at Glasgow has gained an excellent reputation amongst writers, agents and publishers. It is perfect for talented and aspiring writers who want to develop their craft, take risks in their work, and gain creative and critical skills; all as part of a supportive community of fellow writers. Skills gained in the study of Creative Writing may lead to career opportunities in literary and cultural fields such as editing, publishing and arts development.
Why this programme
-Our dedicated teaching staff comprises successful and well-regarded writers who work in and encourage a variety of genres and forms.
-We have strong links with literary agents and publishers, and an impressive number of our graduates are published and acclaimed authors.
Programme structure
The MLitt in Creative Writing is directed at those who are already engaged in writing. The programme's clear three-part structure, focused on creative, critical and practical issues, distinguishes it from others offered in the UK.
The programme structure covers:
Semester 1
-Creative workshops and guest speakers
-Reading as a writer (Craft & Experimentation 1)
-Copyright, publishing and the culture of reception (Editing & Publication 1)
Semester 2
-Creative workshops and guest speakers
-Experimentation (Craft & Experimentation 2)
-Editing the twenty-first century: editorial project (Editing & Publication 2)
These courses have been developed to:
-Encourage you to experiment with a range of voices, techniques and genres alongside a consideration of major creative and editorial engagements from the modern through the contemporary period.
-Provide a space to undertake extended portfolios of creative and editorial work.
-Familiarise you with the writing context (audience, publishing in all its forms, the legal framework, modes of transmission); help you develop a critical understanding of diverse creative, theoretic and critical texts through consideration of major creative and editorial engagements in modern and contemporary writing.
-To help you develop the discipline of regular writing by providing a stimulating workshop and tutorial environment in which writing skills can be acquired, discussed and honed.
Among its alumni the University of Glasgow includes some notable writers, from Robert Henryson in the fifteenth century, to James Boswell, Tobias Smollett and Adam Smith in the eighteenth. It was in the twentieth century that Glasgow's place as a centre of creativity was established. It numbers among its many writer-graduates William Boyd, James Bridie, John Buchan, A.J. Cronin, Janice Galloway, Alasdair Gray, Janice Hally, James Herriot, James Kelman, Helen MacInnes, Alistair MacLean, William McIllvanney, Edwin Morgan and Alexander Trocchi.
Career prospects
Graduates have gone into writing, journalism, publishing, and many other professions.
Many of our students have gone on to become published authors. You can find a list of alumni on our Creative Writing subject pages. Others have been published in magazines and journals, or have had their work produced and broadcast on radio and television. A number of our graduates have won or been shortlisted for major prizes for poetry, short fiction and fiction including the Dundee Book Prize, Booker Prize, Bailey's Women's Prize, Orange Prize, Fish Short Story Award, Bridport Prize, McCash Scots Poetry Competition, Macallan and Canongate short story awards, Saltire Awards, Scottish Book of the Year Awards.
Positions held by recent graduates include Managing Director, Freelance Writer, Editor, Programme Manager, Author, Copywriter, Author and Community Arts Worker.
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Producing Film and Television (MA)
Royal Holloway, University of London
Department of Media Arts
From start to finish, producers are the driving force behind the film and television industry; they generate new projects and ideas, secure finance, manage production and strategically market the project.
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From start to finish, producers are the driving force behind the film and television industry; they generate new projects and ideas, secure finance, manage production and strategically market the project. The producer's role has been transformed by the advent of globalization, digital technology and the multi-channel environment.
This course offers aspiring producers an opportunity to acquire the creative entrepreneurial skills required to enter a rapidly changing film and television universe. The course concentrates on developing creative, managerial, financial and legal capabilities for a successful career in production.
This Master's degree reflects the global nature of the contemporary media marketplace but its main focus is UK film and television fiction, rather than factual production. It is targeted at those who want to follow a career path as producers, rather than as directors.
See the website
Why choose this course?
- The course benefits enormously from close links with the film and television industry. Tony Garnett (producer of Cathy Come Home and This Life), whose company World Productions has built up a reputation for challenging and innovative drama, was a guiding force in designing the course and has played a great part in the course's success.
- Professor Jonathan Powell (former Controller of BBC 1, Head of Drama for the BBC and Controller of Drama at Carlton TV), one of this country's most respected and experienced drama producers, now delivers the 'Role of the Producer' and 'Script Development' lectures as well as providing you with support and advice.
- You will normally undertake a full-time internship in a production company. In most cases this internship lasts about four weeks. You will be offered guidance and assistance in an effort to obtain industry internships.
- Students who have graduated from the course are working successfully in independent television and film production, for broadcasters such as the BBC and ITV, and for distributors, exhibitors, talent agencies and entertainment lawyers.
- Regular networking events are arranged where former alumni can make contact with each other and with the current group of students.
Department research and industry highlights
- TRENT is an exciting and innovative collaborative project between the British Universities Film and Video Council (BUFVC) and Royal Holloway, University of London (RHUL) and funded by the Arts and Humanities Research Council (AHRC). Led by John Ellis the project brings together the nine existing online databases hosted and curated by the BUFVC which provide important film, radio and television material along with accompanying metadata and contextual information for academics, students, teachers and researchers. This project brings together all the material contained in these databases, yet Trent is not simply a master database. Instead it foregrounds creative searching through a common interactive interface using real-time 'intelligent' filtering to bringing disparate databases into a single search and discovery environment whilst maintaining the integrity and individual provenance of each.
- The EUscreen project is major funded EU project which aims to digitise and provide access to European's audio-visual heritage. This innovative and ambitious three year project began in October 2009 and the project consortium is made up of 28 partners from 19 European countries and is a best practice network within the eContentplus programme of the European Commission. The Department of Media Arts at Royal Holloway's is responsible for the content selection policy for EUscreen and those involved include John Ellis, Rob Turnock and Sian Barber.
- Video Active is a major EU-funded project aiming to create access to digitised television programme content from archives around Europe. It involves collaboration between the Department of Media Arts at Royal Holloway and Utrecht University, and eleven European archives including the BBC, to provide access to content and supporting contextual materials via a specially designed web portal. The team from the Department of Media Arts, who are John Ellis, Cathy Johnson and Rob Turnock, are responsible for developing content selection strategy and policy for the project.
- Migrant and Diasporic Cinema in Contemporary Europe is an AHRC-funded international Research Network, led by Daniela Berghahn, which brings together researchers from ten UK and European universities, filmmakers, policy makers and representatives from the cultural sector. The Research Network explores how the films of migrant and diasporic filmmakers have redefined our understanding of European identity as constructed and narrated in European cinema. The project seeks to identify the numerous ways in which multi-cultural and multi-ethnic presences and themes have revitalised contemporary European cinema by introducing an eclectic mix of non-Western traditions and new genres.
- Lina Khatib was awarded an AHRC Research Leave Grant to complete a book on the representation of Lebanese politics and society in Lebanese cinema over the last thirty years. The study focuses on cinema's relationship with national identity in the context of the Civil War and the post-war period in Lebanon.
- Gideon Koppel was awarded an AHRC Research Leave Grant to complete his feature-length documentary portrait of a rural community in Wales, The Library Van, which has been partly funded by the Arts Council of Wales.
On completion of the course graduates will have:
- a broad and detailed understanding of the nature of film and television production; how the role of the producer impacts on the production as the creative and managerial driving force, and how the producer communicates meaning to the writer, director, film crew and to the audience
- advanced understanding of the process of producing a film and/or TV programme, from initial concept through distribution and sales
- advanced understanding of script development
- advanced understanding of the various stages of the production process and how to write a pitch, a treatment, business plan, make a deal, write a financial plan, re-coupment schedule and budget as well as all relevant production contracts and documents
- critical knowledge of the current genres and trends in film and television and how they have evolved in recent years
- an understanding of the UK film and television industries, including their structure, institutions and working practices
- a broad understanding of the group nature of film and television production and how the roles played by the key players shape and influence the creative as well as business outcomes of a project
- a clear understanding of management structure within the production company and film crew, hands-on experience of production in
- a professionally equipped television studio working with industry professionals as well as fellow students
- a broad understanding of health and safety, industry codes of ethics, best practice and legal undertakings
- an introduction to high quality industry software for budgeting and scheduling, and post production editing
- an understanding of film and television history
- an understanding of what creative and business skills are needed to be successful in the media industries.
Assessment is carried out by a variety of methods including essays, script reports, treatments, pitching exercises, studio exercises, production papers, business reports and presentations.
Employability & career opportunities
Students who have graduated from the course are working successfully in independent television and film production, for broadcasters such as the BBC and ITV, and for distributors, exhibitors, talent agencies and entertainment lawyers.
How to apply
Applications for entry to all our full-time postgraduate degrees can be made online
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Filmmaking (MA)
Goldsmiths, University of London
Department of Media and Communications
The MA in Filmmaking offers six pathways. Directing Fiction, Producing, Screen Documentary, Cinematography, Sound Recording and Design, and Editing- http://www.gold.ac.uk/pg/ma-filmmaking/.
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The MA in Filmmaking offers six pathways: Directing Fiction, Producing, Screen Documentary, Cinematography, Sound Recording and Design, and Editing-
The pathways combine both fiction and documentary elements, and encompass a variety of new options such as script and project development, web drama, online content, and social activist filmmaking, alongside the more traditional media skills, to reflect the changing trends and diversity in the current media landscape.
Whichever pathway you choose, you'll receieve specialised film, television and multi-platform industry training. You'll also be able to produce films alongside others working in art, theatre and social media.
You'll learn how to critique existing forms and trends – pioneering creative new products that will make waves in the media and wider world. And you can benefit from an invaluable year-long mentorship with an individual or company within the industry.
Contact the department
If you have specific questions about the degree, contact Gerry McCulloch.
Modules & Structure
All pathways involve:
-Exercises aimed at using your skills specialism in a variety of live shoot situations
You will also have a variety of research projects to undertake, as well as other module options.
The third term will be taken up with your final substantive project, and in writing up a process paper on your work and research over the year.
For full module information, refer to the individual pathways.
Screen Lab
As well as specialist teaching, all MA Filmmaking students will attend Screen Lab, where they will advance their collaborative skills by working in teams with fiction and documentary producers and sound and edit students, on a variety of projects and at least three scheduled films across the year.
Screen School options
As well as taking one of the specialisms mentioned above have the opportunity to take three extra short courses to enhance their main skill and critical approaches. Available option modules may include for instance:
-Screen Adaptation
-Principles of Editing
-Media Law and Ethics
-The Short Script
-Politics of the Audio Visual
-Social Activist Film Making
-Contemporary Screen Narratives
-Representing Reality
-The Practice and Aesthetics of Film Lighting
-The Current Landscape of the UK Media Industries
Industry mentorships
We have close relations with all sectors of the media industry, and offer each student an invaluable year-long mentorship with an relevant individual or company. Many of these relationships will develop into fruitful work and creative opportunities for the future.
If you are passionate about fashioning an exciting career for yourself as a filmmaker in an environment that promotes innovative filmmaking, this course is for you.
This programme is aimed at aspiring filmmakers intent on carving out a career in the creative and cultural industries through the production and distribution of fiction film content across multiple platforms. Possibly the most important skill we offer you is the opportunity to work collaboratively under pressure as part of a creative team on challenging projects.
The creative industries are presently undergoing a period of radical transformation and new modes of practice are emerging. You acquire traditional celluloid filmmaking skills and also engage with digital cinema technology and practice. The content of both our practice and theory courses reflects the evolving film and media landscapes.
In addition to your practical filmmaking skills, we encourage you to develop a variety of transferable intellectual, organisational and communication skills to equip you for a broad range of future employment opportunities across the 21st-century media landscape.
Upon completing the course, you are equipped to enter the job market, armed with an enhanced understanding of their practical, intellectual and creative capabilities as filmmakers. This equips Goldsmiths graduates to apply themselves to a broad range of occupations in the film and media industries that range from permanent posts in established organisations, to working freelance and launching your own creative enterprise.
As a beacon of culture and the arts, London is the hub of the UK film and creative industries. Goldsmiths' position as a high profile arts institution in London means we can attract distinguished individuals from the creative industries to contribute to the course. Programme staff are experienced in assisting you to develop yourself as a creatively and conceptually capable sound designer, editor, cinematographer, producer or director.
Our graduates
Goldsmiths graduates regularly go on to win awards at major international film festivals, and have even been nominated for the short film Oscar. Our alumni are active in the film, media and cultural industries around the world. Many also pursue doctorate studies and occupy academic posts internationally. We aim to empower you through the knowledge you accumulate on the programme to realise your unique potential.
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Campus Pastor
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Cornelius, North Carolina, United States
Date Posted: 05/20/2015
Categories: Other Pastor
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Church Size: 2001 to 2500
Job Type: Full-Time
Job Description:
Campus Pastor will be responsible for the leadership, management, and pastoral care of their designated campus. Bachelor Degree minimum; Seminary or Master's Degree preferred; prior teaching experience in an Associate Pastor role or higher.
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