- Screenwriting Unit-UCF Openspace
This discussion by Susan Salas goes through scripts and how to break them down for productionLEGAL
This course from SmallBizU discusses types of intellectual property, the process of seeking intellectual property protection, international intellectual property issues and different types of confidentiality agreements when dealing with intellectual property.
Acting requires a wide range of skill, from the ability to control your voice to adopting physical attributes. A stage actor will often be required to research a period a history or particular topic to bring a character to life. This collection aims to give an insight into what it is like to be an actor at the National Theatre. Featuring Simon Russell Beale, Zoe Wanamaker, Lesley Manville, Rory Kinnear, Fiona Shaw, Ben Whishaw and Roger Allam.
Do you want to get more out of drama? This unit is designed to develop the analytical skills you need for a more in-depth study of literary plays. You will learn about dialogue, stage directions, blank verse, dramatic structure and conventions and aspects of performance.
Have you ever wanted to pick up a video camera and make a short video or film, but felt intimidated by your lack of knowledge? The explosion of film-making for websites and mobiles gives people and organisations the opportunity to tell their stories and show what they have to offer, at low cost. This collection of exciting videos features the Open University’s experienced team of filmmakers, who will show you some of the craft secrets that underpin good filmmaking, and how professionals stay up to date. You will learn the basics of editing, how to conduct an interview, the role of the producer and other crew members and how to archive your finished project. This material forms part of the Open University course T156 Digital film school.
This course is an introduction to narrative film, emphasizing the unique properties of the movie house and the motion picture camera, the historical evolution of the film medium, and the intrinsic artistic qualities of individual films. The primary focus is on American cinema, but secondary attention is paid to works drawn from other great national traditions, such as France, Italy, and Japan. The syllabus includes such directors as Griffith, Keaton, Chaplin, Renoir, Ford, Hitchcock, Altman, De Sica, and Fellini.
This course examines works of film in relation to thematic issues of philosophical importance that also occur in other arts, particularly literature and opera. Emphasis is put on film’s ability to represent and express feeling as well as cognition. Both written and cinematic works by Sturges, Shaw, Cocteau, Hitchcock, Joyce, and Bergman, among others, are considered.
This course examines problems in the philosophy of film as well as literature studied in relation to their making of myths. The readings and films that are discussed in this course draw upon classic myths of the western world. Emphasis is placed on meaning and technique as the basis of creative value in both media.
Western movies form the oldest of American film genre. They have also been the most important modern vehicles for one of the oldest and most significant of American cultural myths – the myth of the frontier. The course surveys the development of the Western film genre and sets it in historical and cultural context. In addition to viewing 20 or more feature films, we will study some of the precinematic sources of Western themes and images (novels, paintings). There will also be readings in the history of movies, critical and cultural theory, and political history.