Masters Program in Film Studies in Europe

Top Masters in Film Studies in Europe 2017

Film Studies

A masters is awarded to students who have completed postgraduate level study in a specific field of study or area of professional practice while demonstrating a high level of mastery during the process.

During MA in Film programs, students will be encouraged to present their personal touch in thinking, screenwriting and filmmaking abilities. Students are encouraged to experiment from the start in order to help them reach their potential.

There are more than four thousand higher education organizations in Europe, from leading research institutions to small, teaching-focused universities. Europe itself is not as much different than other continents, reaching from the Arctic Circle to the coast of Africa.

Master's Program in Film Studies in Europe

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Master (MA) Visual Effects

Ravensbourne
Campus Full time Part time 1 - 2  August 2017 United Kingdom London + 1 more

The landscape of visual effects is changing at a lightning speed. The technological advances over the last decade have brought us fast communication links ... [+]

Best Masters Programs in Film Studies in Europe 2017. The landscape of visual effects is changing at a lightning speed. The technological advances over the last decade have brought us fast communication links that are enabling global, cloud-based and remote workflow, opening the possibilities of a looser, more flexible network of artists based in different countries creatively collaborating on visual effects projects. This, combined with the ever increasing demand for both film and video content means that there is a growing need not just for VFX artists but also VFX producers, post-production coordinators and project managers that have a deep understanding of the whole workflow in the creation of visual effects and the post-production in general. Ravensbourne’s course reflects these changes and follows Skillset guidance on the entry skills required to meet VFX industry’s needs that encompass not only specialised industry skills but also soft skills required for a successful career in the VFX and post-production industry be it in the creative or project management spectrum. In addition six modules in the form of group tutorials are given on the whole process in the creation of VFX including pre-production meetings, VFX acquisition, scheduling, budgeting, organisation and shoot supervision. These modules also place VFX in the wider context of post-production and give an overview of the post-production workflow from brief to delivery that includes transcoding, editing and deliverables. Ravensbourne gives students access to all the necessary equipment, including cameras, the use of green screen studios with complete lighting rigs and the relevant software. Students will have the opportunity to visit a major post-production facility through Ravensbourne’s many industry partnerships. Entrants are likely to have previously studied arts, media, public relations, marketing, editing, post-production, motion graphics or 3D animation at undergraduate level. [-]

Master (MA) Moving Image

Ravensbourne
Campus Full time Part time 1 - 2  August 2017 United Kingdom London + 1 more

MA Moving Image is designed to develop creative conceptual thinkers, who can deliver ideas across media using a variety of methods. The project work undertaken is underpinned with [+]

MA Moving Image

MA Moving Image is designed to develop creative conceptual thinkers, who can deliver ideas across media using a variety of methods. The project work undertaken is underpinned with research, analysis and evidence of strategic thinking as well as self reflection.

On this course you will be able to devise new means of attracting audiences, whether in the areas of promotion and advertising or within the exhibition and corporate sector, moving image for mobile devices, the web, and in every area of motion design and the world of moving image.

The course has been designed if you’re looking for innovative, creative and critical learning, as you will engage with video, environmental, digital editing, sound and animation to develop your creative ideas and build a strong conceptual and technical basis for your development.... [-]


Master Sound Design for Film and TV

NFTS - National Film and Television School
Campus Full time August 2017 United Kingdom London

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... [+]

Best Masters Programs in Film Studies in Europe 2017. Sound Design for Film and TV 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 2011, 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 ninth time a graduating NFTS student has won this award in the last fourteen years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. Other 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). ALUMNI 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. CURRICULUM 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. YEAR ONE 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 YEAR TWO 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. ENTRY REQUIREMENTS In the Post Production department, 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. Applicants are likely to have some industry experience, or training in their 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 sound production, taking you to a higher level of work. Application materials must include visual materials (video or stills) with an associated soundtrack that you have constructed; and a sound montage including speech, that you have created and post-produced. APPLY WITH A DVD of no more than twenty 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. [-]

Master degree in Editing

NFTS - National Film and Television School
Campus Full time August 2017 United Kingdom London

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... [+]

Editing 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. 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 The Queen, Hannibal Rising, Reprise and New Moon at the cinema and Downton Abbey, Paul Merton in China, Holby City, Hustle, CSI: Crime Scene Investigation and Spooks on television. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. ALUMNI 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. CURRICULUM YEAR ONE 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 YEAR TWO 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. ENTRY REQUIREMENTS 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. APPLY WITH A DVD no more than 20 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. [-]

Master degree in Directing Documentary

NFTS - National Film and Television School
Campus Full time August 2017 United Kingdom London

This course commences in January each year. The goal of the course is to give our graduates the tools and the confidence to become successful members of the international documentary community. Our students have won the Grierson and Sheffield Student Awards two years running, IDFA and the Royal Television Society last year, and win prizes at the most prestigious festivals round the world: Sundance, IDFA, Hot Docs, Berlin, Sheffield and... [+]

Best Masters Programs in Film Studies in Europe 2017. Directing Documentary This course commences in January each year. The goal of the course is to give our graduates the tools and the confidence to become successful members of the international documentary community. Our students have won the Grierson and Sheffield Student Awards two years running, IDFA and the Royal Television Society last year, and win prizes at the most prestigious festivals round the world: Sundance, IDFA, Hot Docs, Berlin, Sheffield and many others. The most important thing, however, is to prepare them for life as committed documentary storytellers, wherever that may lead. In the UK, getting a first commission can be a daunting task but last year, for example, Marc Williamson, made a First Cut for Channel 4 from his Sheffield student award winning graduation film which this year won him the Grierson Prize for Best Newcomer. Some use the contacts they make in the last phase of the course, to put together deals with TV production companies and non-TV source as Sam Blair did with Adidas for his brilliant feature debut about sprinters, Personal Best. Since students direct and shoot five films in different genres during the course, many progress swiftly by using their unique skills to contribute to productions throughout the industry, like James Newton who won a Grierson last year as one of the directors of The Year the Town Hall Shrank . TUTORS Some of the UK's leading Documentary makers teach at the School, including internationally acclaimed directors Kim Longinotto, Sean McAllister, Asher Tlalim, Nick Broomfield, vastly experienced producer/directors Riete Oord, Ros Franey, award-winning cinematographer Roger Chapman, Rory Peck award winner Rodrigo Vazquez, the founder of Dochouse, Elizabeth Wood, Exec Producer of The Act of Killing, Andre Singer, and successful younger alumni like Lara Agnew, Sandhya Suri, Simon Chambers and Dan Vernon . The department is led by Dick Fontaine who has directed over forty films for television and the independent media, has recently had retrospectives in New York, Paris, Barcelona and Sao Paulo and was nominated last year for a Grierson Award for his latest film. ALUMNI Graduates include Nick Broomfield who pioneered a powerful new genre in documentary: the filmmaker-as- provocateur (The Leader, the Driver and the Driver’s Wife, Aileen: Life and Death of a Serial Killer,and, most recently, Tales from the Grim Sleeper), Grierson Lifetime Achievement Award winner, Molly Dineen (Home from the Hill, The Lie of the Land), Kim Longinotto, whose inspirational films about women are celebrated at festivals around the world (Divorce Iranian–Style, Sisters in Law, and her new film Dreamcatcher), and Sundance winner Sean McAllister (The Liberace of Baghdad, The Reluctant Revolutionary) and many others who are making striking contributions in documentary on many different platforms. CURRICULUM YEAR ONE Built around a series of four practical exercises, increasing in length and complexity, informed and inspired by relevant traditions. Each exercise isolates and focuses on the techniques and content of a specific documentary genre: observation, character–led narrative, image/sound poetry and investigation. Students collaborate in various combinations with editors, cinematographers, sound designers and composers and also work alone using digital video equipment. YEAR TWO Includes three projects: a graduation film in which students synthesise what they have discovered in the first year, and use it to confidently challenge conventional approaches to documentary: an MA dissertation in which they reflect on a practical question that has intrigued them during the course so far and a proposal/taster tape for a project to take into the professional arena. The final stage consists of visits to film festivals, broadcasters, independent producers and other relevant institutions, together with seminars dealing with the commissioning process, legal requirements, finance and festival potential. Unlike other schools, all production costs are met by the School including an above-the-line cash production budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors. ENTRY REQUIREMENTS Students come from a wide variety of backgrounds and have usually had some previous experience of filmmaking, though this may not be at a professional level. All have a strong social awareness and a keen desire to translate that awareness into stories told with a personal voice. APPLY WITH A 20-minute film, conceived and directed by the applicant (on DVD). Please note: if you wish to submit a longer film, only the first 20 minutes will be viewed. If the dialogue is not in English, you should enclose a dialogue transcript in English. OR A narrative photo essay consisting of 10 20cm x 25cm stills. AND A written proposal for a different film of any specified length (on no more than 4 sides of A4, typed and double-spaced) which should include the basic premise, a description of the characters and locations and, most importantly, the developing narrative. [-]

Master degree in Digital Effects

NFTS - National Film and Television School
Campus Full time August 2017 United Kingdom London

This course commences in January each year. During this extremely practical modular course, you will spend a lot of time learning techniques “on set”, in addition to learning in front of a computer. You will work closely with students from all the other NFTS MA disciplines, creating 2D/3D VFX, CG 3D FX or Colour Grading and Onlining the entire production, on a diverse range of NFTS film and television projects – many of... [+]

Digital Effects This course commences in January each year. During this extremely practical modular course, you will spend a lot of time learning techniques “on set”, in addition to learning in front of a computer. You will work closely with students from all the other NFTS MA disciplines, creating 2D/3D VFX, CG 3D FX or Colour Grading and Onlining the entire production, on a diverse range of NFTS film and television projects – many of which go on to become international award-winners. This course shares a common first year, allowing you to specialise in the second year in one of three areas: COLOUR: For those who aspire to be: Digital Film Colourists (Baselight/Nucoda/Scratch) and/or Online Editors (AVID|DS/Symphony/Smoke) COMPOSITING: For those who aspire to be: VFX Artists/ 2D/3D Compositors (Nuke/Flame/Adobe CS6) CG: For those who aspire to be: CG 3D Artists or CG TDs (Maya modelling/lighting/texturing/rendering) Ultimately the course will provide the backbone for a career in 2D VFX or 3D VFX or Colour Grading/Online editing. The NFTS holds a unique position within the film and television industries, whereby it can offer an invaluable “Bridge to Industry” that attempts to help graduates establish themselves in a new career. At the time of writing, all the previous Digital FX graduates are in employment from Soho to São Paulo. Some are 3D CG TDs at Framestore, Double Negative and MPC in London, others SFX producers at Millennium FX, others 2D/3D compositors at The Mill, Cinesite and The Senate, others working in software development and as product specialists at Filmlight, Image Systems, Assimilate and The Foundry, and others as freelance conform editors and colourists. ALUMNI Graduate credits include: CG VFX on projects such as The First Avenger, Kick-Ass, Doctor Who, 2012, Harry Potter, Inception, Captain America and Avatar, Compositing VFX on Harry Potter and the Deathly Hallows, The Tree of Life, John Carter, Paul, Iron Man 2, War Horse, Sherlock Holmes, The Dark Knight Rises, Clash of the Titans 2 and The Pirates! In an Adventure with Scientists, conform/grading on Generation Kill, The Chronicles of Narnia, & Jack and the Giant Killer, as well as SFX on Being Human, Torchwood, Prometheus and Frankenweenie. CURRICULUM This unique modular course has been designed to keep pace with changes in technology and Industry practice. You’ll control many of your own projects from start to finish. You learn by ‘doing’ as well as understanding theory, developing a variety of practical and creative skills from planning, budgeting, storyboarding and pre-visualisation through filming, CGI creation, VFX creation and finally post production and delivery. Several modules are shared with other departments within the NFTS - such as the popular Take One Painting project - and the Digital FX students participate individually, or as teams, on many of the other NFTS students’ film and TV projects. You learn what to do and then get a chance to do it for real. Problem solving is paramount. ENTRY REQUIREMENTS The course covers such a diverse range of subjects that there is no typical candidate. Your background may be in the arts or other media or you may be a recent graduate or Industry professional looking to fast-track or switch your career. Although not strictly necessary, you are likely to have some Industry experience or training in your chosen field and you must already understand the basic technical and operational use of computers. An ideal candidate should have a mixture of creative and technical skills. Communication, people and management skills are also desirable. Your application should be supported by a brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical. You must indicate in your application which specialism you wish to study during the second year: either Compositing or CG 3D or Colour. APPLY WITH A critical analysis of the use of visual effects or colour grading in a film or television programme of your choice, no more than two sides A4 typed. A brief outline of your particular interests in the Compositing, Colour Grading or CG 3D fields including any relevant experience, either academic or practical. One side A4 maximum. A DVD or portfolio containing samples of your work. This need not demonstrate experience in effects. For applicants not from a film or television background, this item is optional. [-]

Master degree in Composing for Film and Television

NFTS - National Film and Television School
Campus Full time August 2017 United Kingdom London

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... [+]

Best Masters Programs in Film Studies in Europe 2017. Composing for Film and Television 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. TUTORS Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco. ALUMNI 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. CURRICULUM 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. YEAR ONE 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 Productions 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 YEAR TWO 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. ENTRY REQUIREMENTS 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. APPLY WITH 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. [-]

Course in Academy Preparation Programme (APP)

FAMU Film and TV School of the Academy of Performing Arts in Prague
Campus Full time September 2017 Czech Republic Prague

The Academy Preparation Program offers one year of intensive filmmaking/photography and academic disciplines with mentorship enabling the student to complete several art works by the end of the academic year. [+]

Would you like to become a filmmaker, but you are still not definitively decided in what capacity? Would you like become a photographer? The Academy Preparation Program offers one year of intensive filmmaking/photography and academic disciplines with mentorship enabling the student to complete several art works by the end of the academic year. The program works well to prepare students for MA studies in a particular discipline. PROGRAM DESCRIPTION The one-year Academy Preparation Program (APP) at FAMU International aims to provide its participants the opportunity to explore and become acquainted with the broad range of crafts, professions, arts and skills that comprise the cinematic/photographic endeavour on both a practical and theoretical level. Filmmaking hands-on program includes a large variety of practical student projects and exercises in formats from HDV, HDSLR to 16mm and 35mm. There is also practical work within a TV studio environment. Shooting is designed for locations as well as in studios. Photography students gain the skills within Photography department. Projects are specifically designed for the program curriculum and are supervised by FAMU faculty and mentors. The production of all mandatory practical exercises and final film is included in the price of tuition. Students enrolled in the one year Academy Program create their own study plan based on a combination of required – compulsory – courses, optional courses, electives, workshops and projects within their selected Major Concentrations. All courses, seminars and workshops award credits under the ECTS (European Credit Transfer System). Teachers and mentors in the program include full-time faculty from the eleven degree-granting departments of FAMU, as well as other artists, academics and film professionals as part-time faculty. As an entry-level course, the Academy Preparation Program is best suited for students interested in attaining a thorough background in audio-visual or photographic media before pursuing more in-depth studies in filmmaking and related media. While the program is designed as a general filmmaking/photographic course, it is nevertheless focused through MAJOR CONCENTRATIONS. Core courses taken by the student, mentor workshops and practical works completed will vary depending on each concentration. MAJOR CONCENTRATIONS (newly extended) for 2015/2016 are: 1. Screenwriting 2. Directing Fiction 3. Directing Documentary and Non-fiction 4. Cinematography 5. Editing and Creative Post-production 6. Photography Each Major Concentration includes a small workshop (up to 6 students) led by a mentor. In the workshop students work under one-on-one tutorship and develop their practical assignments. Mandatory seminars and courses provide theoretical background for creative part of the study program. Core courses provide a broader education into both local and film/photography culture, and include classes and seminars in: 
1. Film History, Photography History, Theory and Criticism, 2. Arts and Culture. 
FAMU International also provides a wide range of short and intense Friday or weekend workshops (we call them Modules) that comprise a vital aspect of each student’s educational experience. 
The program starts in the middle of September and ends in the middle of May. Precise dates are given specifically for each year. Core courses of each concentration leads to different creative outputs and participation of individual or collaborative work: 1. Screenwriting: small assignments during the year, TV series, a script for short film and its realization, a first draft of a full-length script 2. Directing Fiction: filming exercises digital and 16mm with given creative limits, a portrait on digital, a final short film on 16mm 3. Directing Documentary and non-fiction: filming exercises digital and 16mm with given creative limits, a portrait on digital, a final film on 16mm or digital 4. Cinematography: filming exercises digital and 16mm with given creative limits, lighting exercises, DOP of directing student´s work, 35mm final etude 5. Editing and Creative-Postproduction: filming exercises digital and 16mm with given creative limits, technical editor´s exercises, editors of directing student´s works 6. Photography: digital and film exercises, studio and outdoor photography, darkroom process as well as digital postproduction, range of creative workshops to attend CERTIFICATION AFTER COMPLETION All students will receive a transcript of completed courses in accordance with the ECTS (European Credit Transfer System). These credits are accepted by and transferable to universities, academies and advanced institutions of higher learning throughout the world. All students who successfully fulfill the requirements of their study plan will receive a Certificate from FAMU International. 
 Please note that acceptance into the FAMU International one year Academy Preparation Program does not guarantee admission into further studies at FAMU, however the portfolio of main works completed within each concentration provides application material expected for most advanced studies of the discipline. [-]

MFA in Filmmaking

EICAR
Campus Full time September 2017 France Paris

EICAR, the only film school in continental Europe with an English language curriculum, offers a two year Master of Fine Arts program in filmmaking with 5 Majors – Directing, Screenwriting, Cinematography, Producing and Editing. The School provides degrees and programs with an emphasis on practical filmmaking experience and team working process. With a class size of 15 students, we favor direct studio work and... [+]

Best Masters Programs in Film Studies in Europe 2017. MFA in Filmmaking EICAR, the only film school in continental Europe with an English language curriculum, offers a two year Master of Fine Arts program in filmmaking with 5 Majors – Directing, Screenwriting, Cinematography, Producing and Editing. The School provides degrees and programs with an emphasis on practical filmmaking experience and team working process. With a class size of 15 students, we favor direct studio work and small-group practical exercises where lessons can sink in. EICAR MFA program also integrates a direct understanding of professional responsibilities such as the Producing for a Client class where students are expected to produce a commercial on deadline as a team. Studying in Paris with an international network of professionals EICAR provides an international environment with over 60 nationalities present within the school’s student and staff community. Our international faculty of working film and television professionals has a continuing presence in the industry and are on the front-line of all changes and challenges confronting the film and television business. Because EICAR instructors are not academics but active professionals, they are able to offer a real world, cutting-edge approach to film education where students are prepared to confront and master the latest technical changes and artistic tendencies in the rapidly evolving audiovisual industries. Completing our curriculum’s emphasis on preparing the student for the competitive audio-visual industry is the International Department’s Master Class Lecture Series with its guest speakers, top professionals from the film and television, lecturing on the most recent technical and artistic developments that can’t be found in the textbooks or the classroom. Subjects as diverse as How to Find an Agent, Communicating with your Music Composition, Tips and Tricks for Creative Sound Design, Financing low budget films the Digital Way, are just a few of the recent lectures. The European Master of Fine Arts is a degree-level diploma which is accredited by EABHES, the European Accreditation Board of Higher Education Schools. The Master’s degree is recognized in affiliated Universities and Higher Education Schools and gives students a high level of geographical mobility, in terms both of their studies and their professional activities. They are a genuine European passport for the world of work. Between 60 to 120 ECTS credits are required for the MFA degree. These credits include classes, personal study and internships. A compulsory Foreign Language test is also required for the degree qualifications. [-]

Master in Media and Entertainment Management

IED – Istituto Europeo di Design Rome
Campus Full time 12  January 2017 Italy Rome

The new Master in Media and Entertainment Management aims to train professionals who can work efficiently and internationally in the field of Media & Entertainment: Movies / TV / trans media, video games, publishing industry, communication, music, web-based companies, theme parks and museums. The course includes numerous meetings with industry professionals. Students can benefit from the experience of managers of Cinecitta World, creative designers of Saatchi & Saatchi and experts of Ariadne Capital. Managers of the Media & Entertainment industry, entrepreneurship and start-ups, thanks to the know-how and business tools acquired can enter prestigious roles in different sectors, where creativity and managerial skills are fundamental. [+]

THIS PROGRAM IS TAUGHT IN ITALIAN Entry Requirements: The Master in Media and Entertainment Management seeks to recruit students with an Honours Degree, Italians and foreigners, and young professionals who want to pursue their career in this field. Structure and Methodology: Through a cross-sectional approach and the involvement in many design workshops, participants are asked to work in teams or individually, by simulating the professional reality typical of companies in the sector and the wide world of entrepreneurship and startups. The programme is structured into three main areas. A first part is dedicated to the fundamentals of the industry with the objective of analyzing the different business models. It is broad and includes areas Movies / TV / Trans average (production company, operator of pay-TV), Games (developers, publishers) Publishing (publisher, retailer online and offline) Music (record company, publisher ) Web-based and ICT companies (Online retailer, thematic portals) Experience Economy (cinema, museums, theme parks) Venture Capital, public agencies and consultancies focused on these areas. Areas such as Media & Entertainment are deeply examined, in particular, its interaction with the cultural and creative sectors and the International economic aspect. The second part of the pathway of study focuses on specific areas of development, production, distribution and use of content. Through taught workshops, participants learn to develop and produce audiovisual works, video games, music, books and hybrids contents. Students are expected to acquire knowledge of vertical strategies of digital communication, on the economic aspects, on the management of business relationships. This will display the path to convert creative content with different formats and platforms into cash. Students, as distributors, learn to take on the role of intermediaries between the rightholders and platforms (cinema, theme park, TV channel, operator of video on demand, online retailer). From the point of view of the platform, they are able to offer innovative experiences with appropriate budgets to final users. The financial issue is related to the collection of funds for the projects: private sources of finance (business angels, venture capital and crowd-funding), public sources (European Union), national and regional media as direct grants and indirect support such as tax credits, tax incentives. Participants are expected to approach the management of trade agreements between the industry, by presenting different business models (pay-TV) and study the foundations of digital communication: how to astutely plan and communicate a brand, content, social gaming or offers in real-time. The pathway of study culminates in the development of a Final Project, an initiative of startup, an upgrade for a company in this sector that already exists or a business proposal for a business partner. [-]

PhD/MPhil in Film and Media Studies specialisms

University of Bolton
Campus Full time 3 - 7  August 2017 United Kingdom Bolton

The MPhil/PhD in Film and Media Studies is for media graduates who are looking to develop their knowledge of a specific area of film and media studies to a high level of academic achievement. Study at MPhil/PhD level is open to honours graduates as well as those already having a postgraduate degree. The MPhil/PhD is largely non-taught and your main submission will be a thesis written under the supervision of a member of staff (the... [+]

Best Masters Programs in Film Studies in Europe 2017. Film and Media Studies specialisms - PhD / MPhil The MPhil/PhD in Film and Media Studies is for media graduates who are looking to develop their knowledge of a specific area of film and media studies to a high level of academic achievement. Study at MPhil/PhD level is open to honours graduates as well as those already having a postgraduate degree. The MPhil/PhD is largely non-taught and your main submission will be a thesis written under the supervision of a member of staff (the Director of Dtudies) with expertise in the area chosen. Additional support is available from other internal/external academics. Your thesis will be a piece of original critical research which makes a significant contribution to scholarly knowledge in the film and media studies field. The broad topic to be investigated will be defined by you with more specific details agreed through discussion with the Director of Studies. Careers & professional development The course is useful if you wish to follow a career path involving advanced scholarly research; for instance, an academic teaching career in the film/media field. Subject overview Staff in the School of Arts, Media and Education value their relationships with students and provide friendly and supportive postgraduate research supervision. They are able to draw upon their own experience of publishing and conference presentation in the field to enhance their support of postgraduate students. Projects recently completed by staff include the publication of a monograph applying Bakhtinian theory to some of the key concepts of film studies. Projects currently underway include Brid Andrews' study into documenting professional practice in the creative industries. During the first 12 to 18 months of the course you will be registered for an MPhil and carry out research towards this qualification. Assuming satisfactory progress as indicated by a transfer report, you will then transfer to the award of PhD. At the transfer stage you have the option of writing-up for an MPhil only if you wish. Either qualification is awarded subsequent to the production of a thesis and oral examination. At the start of the course you will be strongly encouraged to broaden your knowledge of research training by attending relevant sessions of the University’s postgraduate training programme and at relevant research seminars hosted by the school. You will be encouraged to participate in the latter and, as a PhD student, you will also be encouraged to disseminate your research more widely, at conferences and in academic journals. Supervisors can offer advice and encouragement on every stage of research dissemination, from writing proposals to delivering papers at conferences. Research topics Applications for MPhil/PhD study are considered in the following areas: - gender in film/television - classical Hollywood - performance theory - interfaces between theatre/film - psychoanalytic theory and film - late 1960s art cinema - British cinema - authorship in film - industrial history - economic and aesthetic interfaces in film - contemporary Hollywood, particularly the ‘blockbuster’ - Bakhtinian theory - comic book/superhero movies. Available projects Projects currently underway by our research students include a study into the representation of the South Asian/British Asian woman in film and television, and a study into perceptions of threat in recent Hollywood cinema. Projects are available in the areas detailed in the 'research topics' section above. Before submitting a formal application you should contact the postgraduate research degree admissions tutor in film and media studies to discuss the area in which you wish to work. A more detailed proposal of a research topic will then be agreed between you and the supervisor(s) as part of the formal application process. [-]

Master in Animation

Estonian Academy of Arts
Campus Full time August 2017 Estonia Tallinn

Estonian Academy of Arts is offering a 2-year Master of Animation programme to postgraduate students interested in animation directing and filmmaking. [+]

Master in Animation Estonian Academy of Arts is offering a two-year Master of Animation programme to postgraduate students interested in animation directing and filmmaking. If you are an ambitious and determined artist, with the talent, motivation and desire to create unique work, form new directions and realise your career aspirations as an animation director, this course is ideal. The course combines several disciplines e.g. animation, scriptwriting, history of animation and media theory, making the background of this MA programme trans-disciplinary. The coursework mainly concentrates on classical and experimental techniques i.e. drawing animation, stop motion, cut-outs, sand animation, painting under the camera etc. In the professional sense, students will direct and produce animated films. An important part of the study are collaboration projects with local companies and organisations. The programme has a unique teaching and learning framework where students receive abundant individual attention and mentoring from highly experienced animation professionals. Students of the animation department organise the annual festival Animated Dreams, which is part of POFF, the Dark Nights Film Festival, held in Estonia during the dim evenings of Autumn. Curriculum Structure Lectures, seminars, intensive modules and projects are intertwined in the two-year MA programme. Essay writing, script writing, animating, directing, editing, sound engineering and research are core activities to be learnt and practiced throughout the courses, leading to a final diploma-film project. The courses are taught in English. Courses taught Philosophy Ethics and aesthetics Film theory Film history Animation history Animation technique Creativity Film production Film industry Animation projects 1 and 2 [-]

M.Phil. in Textual and Visual Studies

Trinity College Dublin
Campus Full time September 2017 Ireland Dublin

This course explores the relationship between textual and visual forms of apprehension and expression in the modern world and their impact on European culture post-1900. The focus of the core module is on the graphic arts (poster, postage stamp, typography), photography and cinema, and on contemporary digital-based media. Various... [+]

Best Masters Programs in Film Studies in Europe 2017. M.Phil. in Textual and Visual Studies This course explores the relationship between textual and visual forms of apprehension and expression in the modern world and their impact on European culture post-1900. The focus of the core module is on the graphic arts (poster, postage stamp, typography), photography and cinema, and on contemporary digital-based media. Various theoretical approaches will be explored in relation to the word/image problematic which will be situated in a number of European cultural traditions. Course options focus on specific media (photography, cinema) or themes (the city, avant-gardes). The aim of the course is to bring students to a high level of theoretical and practical awareness of the text-image relation in cultural expression, equip them to analyse and evaluate the various forms text/image interaction takes, and to provide them with a training that will enrich their practice in other areas of study or professional engagement. The course consists of one core module stretching over two semesters and four one-semester modules (from a choice of 5 or 6). The first core module focuses on Word/Image relations in graphic design, ranging from posters and postage stamps to typography and logotype. The second core semester focus on word/image relations in photography, cinema and the digital media. The one-term options, two of which are followed each semester, include Text and Photography, Figuring European National Identities, Figurations of the European City, the Russian Avant-Garde and East European Cinema. A dissertation on a subject of the student's choice is prepared over the summer months. [-]

Master in Documentary Film Directing – DocNomads

Universidade Lusófona de Humanidades e Tecnologias
Campus Full time October 2017 Belgium Brussels Portugal Lisbon Hungary Budapest + 4 more

The course is supervised and sponsored with scholarships for students and scholars by The Education, Audiovisual and Culture Executive Agency See in detail at www.docnomads.eu [+]

The ”DOCNOMADS” Documentary Film Directing ERASMUS MUNDUS MASTER'S COURSE is a: - Two-year, 120 ECTS - Documentary film directing - Master's course Implemented by three European universities: Universidade Lusófona de Humanidades e Tecnologias/Lisbon/Portugal, Színház- és Filmművészeti Egyetem/University of Theatre and Film Arts/Budapest/Hungary and LUCA, College Sint Lukas Brussels/Belgium. With a mandatory mobility scheme from Lisbon to Brussels via Budapest including: - a first semester at Lusofona, - a second semester at SZFE, - a third semester at LUCA College Sint Lukas, and - a fourth semester dedicated to the graduation work, for which students will be divided into three groups, one at each University The upcoming students are awarded a multiple degree and a diploma supplement. The course is supervised and sponsored with scholarships for students and scholars by The Education, Audiovisual and Culture Executive Agency of the European Committee. Who Can Apply? DOC NOMADS is open to European and non-European students with a BA degree in Motion Picture or Media Studies; other degrees are accepted for applicants with a convincing portfolio. In order to guarantee a high-quality individual training, small group tuition is offered (maximum 24 students). CRITERIA The Academic Board of the DOC NOMADS Erasmus Mundus Master's Course is seeking applicants who are: - socially minded, empathetic, responsible, and have civic awareness; - who are inquisitive, creative, and curious to explore reality; - who are original and both value and seek artistic independence and a personal voice; - who are open-minded, self-reflective, flexible, and innovative; - cooperative, receptive, and good team members; - tolerant and open to criticism; - with good skills of cinematic approach and good visual skills. [-]

Master in Film Studies

Universidade Lusófona de Humanidades e Tecnologias
Campus Full time October 2017 Portugal Lisbon

The Master’s in Film Studies integrates the study plan of the Film and Media Arts Department in the areas [+]

Best Masters Programs in Film Studies in Europe 2017. The Master’ in Film Studies integrates the study plan of the Film and Media Arts Department in the areas of Cinematography Studies, and is part of the integrated 2nd cycle training in the progression of the study of students with a Degree in Cinema, Video and Multimedia Communication, or other similar degrees. Complementarily, the degree is destined to all professionals who wish to deepen their competences in the fields of cinematography production and direction. Knowledge, abilities and skills to be acquired This new master'’s degree presents a unique and original configuration in our country, being totally oriented towards an effective production and direction of cinematography projects framed in an environment of critical and theoretical reflexion. Therefore, the entire degree is based on a methodology of a project in development and throughout the degree the students will be invited to Individually develop a written project and planning a feature-film, respecting every regulation and principles that allow them to prepare a project that can be submitted for evaluation to the ICA – Institute of Cinema and Audiovisual Arts or the MEDIA program of the European Union; Direction of a short film in a film format; Direction of a documentary; Direction of a experimental/artistic nature project with resort to the potential of new digital technologies. Entrance Conditions The following may apply for the Master's Degree: a) People who hold a B.A. or equivalent degree; b) People who hold a foreign academic degree awarded after a 1st study cycle organized according to the Bologna Process by a member state of that process; c) People who hold a foreign academic degree acknowledged as a degree satisfying the objectives of the graduate degree by the due body; d) People who have a school, scientific or professional curriculum acknowledged by the due body of ULHT certifying the capacity to obtain this study cycle. You should check also our international master in film Kino Eyes - The European Movie Master at http://www.kinoeyes.eu/ [-]