UNIT TITLE Toolkit 2 Level Level 5 Total Learning Hours ...webdocs.ucreative.ac.uk/Computer_Animation_Arts_BA_R_year_2_uni… · 1-2 minute Animation Showreel . Table A2 – KIS Categories

Quality Assurance Handbook 2016/17 Page 1 of 28

UNIT TITLE Toolkit 2 Unit Code RCAA5008 Location Rochester Level Level 5 Duration (number of weeks) 29 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 23rd February 2017 CONTENT This unit comprises three elements – Character Design, Animation, and Autodesk Maya & Supporting Software. Together, they enhance and expand upon core skillsets fundamental to the origination and execution of engaging computer generated imagery and animation. Character Design explores fundamental approaches to designing characters for narrative contexts. Animation advances student knowledge of the principles of animation as they pertain to computer animation. Autodesk Maya & Supporting Software advances student knowledge of industry-based tools and techniques used to visualise artistic ideas in a virtual workspace. AIMS The aims of this unit are: A1 to further develop comprehensive skillsets supporting the production of computer

generated imagery and animation A2 to further develop creative approaches to character design, animation and computer

generated imagery. A3 to further develop project management skills and professionalism LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 understand and apply the principles of character design and computer animation. LO2 apply skills required to use software suites in the production of computer generated

imagery and animation. LO3 demonstrate sustained professionalism and project management.


INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 200 No. of hours of independent activity 100 No. of hours of placement activity 0 This will comprise: Lecture Seminar Tutorial Project supervision Demonstration Practical classes and workshops Supervised time in studio/workshop Online Tutorials Guided independent study

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100% Character Design Portfolio Animation Showreel Software Tutorial Portfolio Creative Development Blog

Portfolio

1-2 minute Animation Showreel

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

11 This data is required for KIS and CMA purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH


Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of: principles of character design and computer animation, and software suites.

LO1

Understanding through application of: principles of character design and computer animation, and software suites.

LO2

Technical and applied skills through: project management and professionalism.

LO3

READING LISTS Essential Beiman, N. (2012) Prepare to board!: Creating story and characters for animated features and shorts. (2nd ed.) Boston: Taylor & Francis. Beiman, N. and Johnston, L. (2010) Animated performance: bringing imaginary animal, human, and fantasy characters to life. Lausanne, Switzerland: AVA Publishing SA. Freeman, H.D. (2015) The moving image workshop: introducing animation, motion graphics and visual effects in 45 practical projects. London: Bloomsbury Academic. Hayes, D. and Webster, C. (2013) Acting and Performance for Animation. London: Focal Hooks, E. et al. (2011) Acting for animators. (3rd ed.) London: Taylor & Francis.


Montgomery, L. (2012) Tradigital Maya: a CG animator's guide to applying the classical principles of animation. London: Focal. O’Hailey, T. (2013) Rig it Right! Maya Animation Rigging Concepts. London: Focal Roberts, S. (2011) Character animation fundamentals: developing skills for 2D and 3D character animation. Waltham, MA: Taylor & Francis. Tillman, B. (2011) Creative character design. Amsterdam: Taylor & Francis. Shaw, A. (2015) Design for Motion: Fundamentals and Techniques of Motion Design. London: Focal Recommended Bancroft, T. (2006) Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels. New York: Walter-Guptill Beane, A. (2012) 3D Animation Essentials. New Jersey: Sybex Crook, I. and Beare, P. (2016) Motion Graphics: Principles and Practices from the Ground Up. London: Bloomsbury Academic. Holmes, M.T. (2016) Designing Creatures and Characters: How to Build an Artist's Portfolio for Video Games, Film, Animation and More. Impact Books Osborn, K. (2015) Cartoon Character Animation with Maya: Mastering the Art of Exaggerated Animation. London: Fairchild Books Ospia, J. (2010) Stop Staring: Facial Modeling and Animation Done Right. (3rd ed) Sybex Parr, P. (2016) Sketching for Animation. London: Fairchild Books Rodriguez, D. (2012) Animation Methods: The Only Book You'll Ever Need. Schell, J. (2012) Jordu Schell Creature Studio: Maquette Sculpting and Painting. The Gnomon Workshop (DVD) Schmidt, V.L. (2012) 45 master characters, revised edition: mythic models for creating original characters. (2nd ed.) Cincinnati, OH: Writer’s Digest Books.


UNIT TITLE Toolkit 2 Study Abroad Option Unit Code RCAA5009 Location Rochester Level Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version 23rd February 2017 CONTENT This unit comprises three elements – Character Design, Animation, and Autodesk Maya & Supporting Software. Together, they enhance and expand upon core skillsets fundamental to the origination and execution of engaging computer generated imagery and animation. Character Design explores fundamental approaches to designing characters for narrative contexts. Animation advances student knowledge of the principles of animation as they pertain to computer animation. Autodesk Maya & Supporting Software advances student knowledge of industry-based tools and techniques used to visualise creative ideas in a virtual workspace. The Study Abroad option identifies a curriculum of key tasks and commensurate outcomes ensuring the student is equipped with the necessary principles, skills and experience in preparation for Level 6 study. AIMS The aims of this unit are: A1 to further develop comprehensive skillsets supporting the production of computer

generated imagery and animation A2 to further develop creative approaches to character design, animation and computer

generated imagery. A3 to further develop project management skills and professionalism LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 understand and apply the principles of character design and computer animation. LO2 apply skills required to use software suites in the production of computer generated

imagery and animation. LO3 demonstrate sustained professionalism and project management. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 100


No. of hours of independent activity 100 No. of hours of placement activity 0 This will comprise: Lecture Seminar Tutorial Project supervision Demonstration Practical classes and workshops Supervised time in studio/workshop Online Tutorials Guided independent study




Weigh-ting (%)






Portfolio 100% Character Design Portfolio Animation Tutorial Portfolio Software Tutorial Portfolio Creative Development Blog

Portfolio

1 minute Animation Showreel





Written


Report Coursework





Coursework


Practical skills assessment (including production of Practical


an artefact)



Knowledge of: principles of character design and computer animation, and software suites.

LO1

Understanding through application of: principles of character design and computer animation, and software suites.

LO2

Technical and applied skills through: project management and professionalism.

LO3

READING LISTS Essential Beiman, N. (2012) Prepare to board!: Creating story and characters for animated features and shorts. (2nd ed.) Boston: Taylor & Francis. Beiman, N. and Johnston, L. (2010) Animated performance: bringing imaginary animal, human, and fantasy characters to life. Lausanne, Switzerland: AVA Publishing SA. Freeman, H.D. (2015) The moving image workshop: introducing animation, motion graphics and visual effects in 45 practical projects. London: Bloomsbury Academic. Hayes, D. and Webster, C. (2013) Acting and Performance for Animation. London: Focal Hooks, E. et al. (2011) Acting for animators. (3rd ed.) London: Taylor & Francis. Montgomery, L. (2012) Tradigital Maya: a CG animator's guide to applying the classical principles of animation. London: Focal. O’Hailey, T. (2013) Rig it Right! Maya Animation Rigging Concepts. London: Focal


Roberts, S. (2011) Character animation fundamentals: developing skills for 2D and 3D character animation. Waltham, MA: Taylor & Francis. Tillman, B. (2011) Creative character design. Amsterdam: Taylor & Francis. Shaw, A. (2015) Design for Motion: Fundamentals and Techniques of Motion Design. London: Focal Recommended Bancroft, T. (2006) Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels. New York: Walter-Guptill Beane, A. (2012) 3D Animation Essentials. New Jersey: Sybex Crook, I. and Beare, P. (2016) Motion Graphics: Principles and Practices from the Ground Up. London: Bloomsbury Academic. Holmes, M.T. (2016) Designing Creatures and Characters: How to Build an Artist's Portfolio for Video Games, Film, Animation and More. Impact Books Osborn, K. (2015) Cartoon Character Animation with Maya: Mastering the Art of Exaggerated Animation. London: Fairchild Books Ospia, J. (2010) Stop Staring: Facial Modeling and Animation Done Right. (3rd ed) Sybex Parr, P. (2016) Sketching for Animation. London: Fairchild Books Rodriguez, D. (2012) Animation Methods: The Only Book You'll Ever Need. Schell, J. (2012) Jordu Schell Creature Studio: Maquette Sculpting and Painting. The Gnomon Workshop (DVD) Schmidt, V.L. (2012) 45 master characters, revised edition: mythic models for creating original characters. (2nd ed.) Cincinnati, OH: Writer’s Digest Books.


UNIT TITLE Collaboration Unit Code RCAA5010 Location Rochester Level Level 5 Duration (number of weeks) 12 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 23rd February 2017 CONTENT Experience of collaboration is a key industry expectation of animation students. This unit challenges students to engage in teamwork in the pre-production, production, post-production and promotion of an original animated short. Students are required to identify their strengths as they align with specific studio roles; for example, concept artist, production designer, character designer, pre-visualiser, modeller, sound designer and animator.

AIMS The aims of this unit are: A1 to promote understanding of the roles and responsibilities required to produce a CG

animated short and the application of creative approaches to storytelling. A2 to cultivate advanced technical proficiency in the production of a CG animated short. A3 to foster work place professionalism and effective management of a collaborative project. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 assume roles and responsibilities as a member of a creative team and apply creative

approaches to storytelling. LO2 use software suites proficiently for the production of CG animation. LO3 demonstrate sustained professionalism and effective management of a collaborative

project. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 150 No. of hours of independent activity 150 No. of hours of placement activity 0 This will comprise: Lecture Seminar Tutorial Project supervision Demonstration Practical classes and workshops


Supervised time in studio/workshop Film Programme Guided independent study




Weigh-ting (%)






Portfolio

100%

Animated Short Art Of project documentation Creative Development Blog Studio Blog

Portfolio

2 minute Animated Short





Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against



each learning outcome for the unit Knowledge of: roles and responsibilities as a member of a creative team.

LO1, LO3

Knowledge of: creative approaches to storytelling.

LO1

Understanding through application of: ability to assume roles and work collaboratively.

LO1, LO3

Understanding through application of: ideation in support of development of stories and their assets.

LO1

Technical and applied skills through: ability to employ software suites proficiently LO2

Technical and applied skills through: sustained professionalism and effective management of a collaborative project.

LO1, LO2, LO3

READING LISTS Essential Caspersen, D. (2015) Changing the Conversation: The 17 Principles of Conflict Resolution. London: Profile Books Levy, D.B. (2009) Animation development: from pitch to production. New York: Skyhorse Publishing. Levy, D. (2010) Directing Animation. New York: Allworth Press Milic, L. and McConville, Y. (2006) The animation producer’s handbook. Maidenhead: Open University Press [u.a.]. Mitchell, B. (2016) Independent animation: developing, producing and distributing your animated films. Boca Raton: Routledge. Selby, A. (2013) Animation. London: Laurence King Publishing. Sullivan, K. et al. (2013) Ideas for the animated short: finding and building stories. Amsterdam: Elsevier Science. Wells, P. (2007) Basics Animation 01: Scriptwriting. Worthing: AVA Publishing Wells, P. and Moore, S. (2016) The fundamentals of animation. (2nd ed.) London: Bloomsbury Academic. Winder, C and Dowlatabadi, Z, (2011) Producing Animation. Massachusetts: Focal Press Recommended


Bancroft, T. (2013) Directing for Animation: Everything You Didn't Learn in Art School. Focal Press Bolton, R. (1986) People Skills: How to Assert Yourself, Listen to Others and Resolve Conflicts. New York: Touchstone Cabrera, C. (2013) Reel success: creating demo reels and animation portfolios. Oxford: Taylor & Francis Group. Engler, R. (2015) Animation Cinema Workshop. Indiana University Press Fleming, C.A. (2013) It's the Way You Say It: Becoming Articulate, Well-spoken, and Clear. California: Berrett-Koehler Publishers Hooks, E. (2016) Craft Notes for Animators: A Perspective on a 21st Century Career. London: Routledge Katatikam, J. and Tanzillo, M (2016) Lighting for Animation: The Art of Visual Storytelling. Massachusetts: Focal Press Levey, D. B. (2006) Your Career in Animation: How to Survive and Thrive. New York: Allworth Press Scott, J. (2004) How To Write For Animation. New York: The Overlook Press Wright, J (2005) Animation Writing and Development: From Script Development to Pitch. London: Routledge


UNIT TITLE Collaboration Study Abroad Option Unit Code RCAA5011 Location Rochester Level Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version 23rd February 2017 CONTENT Experience of collaboration is a key expectation of students of animation. This unit challenges students to engage in teamwork in the pre-production, production, post-production and promotion of an original animated short. Students are required to identify their strengths as they align with specific studio roles; for example, concept artist, production designer, character designer, pre-visualiser, modeller, sound designer and animator.

The Study Abroad option identifies a curriculum of key tasks and commensurate outcomes ensuring the student is equipped with the necessary principles, skills and experience in advance of their Level 6 Study.

AIMS The aims of this unit are: A1 to promote understanding of the roles and responsibilities required to produce a CG

animated short and the application of creative approaches to storytelling. A2 to cultivate advanced technical proficiency in the production of a CG animated short.

A3 to foster work place professionalism and effective management of a collaborative project.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 assume roles and responsibilities as a member of a creative team and apply creative

approaches to storytelling. LO2 use software suites proficiently for the production of CG animation. LO3 demonstrate sustained professionalism and effective management of a collaborative

project. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity2 80



No. of hours of independent activity 120 No. of hours of placement activity 0 This will comprise: Lecture Seminar Tutorial Project supervision Demonstration Practical classes and workshops Supervised time in studio/workshop Film Programme Guided independent study




Weigh-ting (%)






Portfolio

100%

Pipeline Portfolio Creative Development Blog Studio Blog

Portfolio





Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical


Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit


Knowledge of: roles and responsibilities as a member of a creative team.

LO1, LO3

Knowledge of: creative approaches to storytelling.

LO1

Understanding through application of: ability to assume roles and work collaboratively.

LO1, LO3

Understanding through application of: ideation in support of development of stories and their assets.

LO1

Technical and applied skills through: ability to employ software suites proficiently LO2

Technical and applied skills through: sustained professionalism and effective management of a collaborative project.

LO1, LO2, LO3

READING LISTS Essential Caspersen, D. (2015) Changing the Conversation: The 17 Principles of Conflict Resolution. London: Profile Books Levy, D.B. (2009) Animation development: from pitch to production. New York: Skyhorse Publishing. Levy, D. (2010) Directing Animation. New York: Allworth Press Milic, L. and McConville, Y. (2006) The animation producer’s handbook. Maidenhead: Open University Press [u.a.]. Mitchell, B. (2016) Independent animation: developing, producing and distributing your animated films. Boca Raton: Routledge. Selby, A. (2013) Animation. London: Laurence King Publishing.


Sullivan, K. et al. (2013) Ideas for the animated short: finding and building stories. Amsterdam: Elsevier Science. Wells, P. (2007) Basics Animation 01: Scriptwriting. Worthing: AVA Publishing Wells, P. and Moore, S. (2016) The fundamentals of animation. (2nd ed.) London: Bloomsbury Academic. Winder, C and Dowlatabadi, Z, (2011) Producing Animation. Massachusetts: Focal Press Recommended Bancroft, T. (2013) Directing for Animation: Everything You Didn't Learn in Art School. Focal Press Bolton, R. (1986) People Skills: How to Assert Yourself, Listen to Others and Resolve Conflicts. New York: Touchstone Cabrera, C. (2013) Reel success: creating demo reels and animation portfolios. Oxford: Taylor & Francis Group. Engler, R. (2015) Animation Cinema Workshop. Indiana University Press Fleming, C.A. (2013) It's the Way You Say It: Becoming Articulate, Well-spoken, and Clear. California: Berrett-Koehler Publishers Hooks, E. (2016) Craft Notes for Animators: A Perspective on a 21st Century Career. London: Routledge Katatikam, J. and Tanzillo, M (2016) Lighting for Animation: The Art of Visual Storytelling. Massachusetts: Focal Press Levey, D. B. (2006) Your Career in Animation: How to Survive and Thrive. New York: Allworth Press Scott, J. (2004) How To Write For Animation. New York: The Overlook Press Wright, J (2005) Animation Writing and Development: From Script Development to Pitch. London: Routledge


UNIT TITLE Premise Unit Code RCAA5012 Location Rochester Level Level 5 Duration (number of weeks) 17 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 23rd February 2017 CONTENT This unit requires students to identify, develop and pre-produce the premise of their Level 6 project or projects. Premise associates with both the creative and technical constituents of their proposal – what it is they’re seeking to put into pre-production and how they expect to produce it. In addition to their individual proposals, students are required to research job roles, departments, and specialisms within computer animation and associated careers. AIMS The aims of this unit are: A1 to develop a creative, cogent premise for an original computer generated animated short

and pre-production to an industry standard.

A2 to identify appropriate creative and technical methodologies by which to realise a computer generated animated short and foster awareness of career progression and specialism.

A3 to develop sustained professionalism and effective project management. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 articulate a cogent premise for an original computer animated short as communicated

through advanced modes of pre-production. LO2 determine appropriate methodologies by which to realise effectively an original computer

animated short and demonstrate knowledge of job roles in computer animation. LO3 demonstrate sustained professionalism and effective project management. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity3 100 No. of hours of independent activity 200 No. of hours of placement activity 0 This will comprise: Lecture Seminar



Tutorial Project supervision Demonstration Online Reviews Pitch Events Film Programme Practical classes and workshops Supervised time in studio/workshop Guided independent study




Weigh-ting (%)






Portfolio

100%

Production Bible Previsualisations Technical Document Careers Dossier Creative Development Blog

Portfolio

2 - 4 minute previsualisations





Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data


Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit


Knowledge of: advanced modes of pre-production.

LO1, LO2, LO3

Knowledge of: career paths and specialisms in computer animation.

LO2, LO3

Understanding through application of: ability to pre-produce animation.

LO1, LO2, LO3

Understanding through application of: research methods in support of ideation for story development and associated assets.

LO1, LO2, LO3

Technical and applied skills through: ability to determine appropriate software methodologies

LO2, LO3

Technical and applied skills through: effective project management and sustained professionalism.

LO3

READING LISTS Essential Bancroft, T. (2013) Directing for animation: everything you didn’t learn in art school. Oxford: Focal Press. Begleiter, M. (2010) From word to image: storyboarding and the filmmaking process. (2nd ed.) Baltimore, MD: Wiese, Michael Productions. Blazer, L. (2016) Animated storytelling: simple steps for creating animation & motion graphics. San Francisco: Peachpit Press. Collington, M. (2016) Animation in context: a practical guide to theory and making. London: Fairchild. Glebas, F. (2012) The animator’s eye: adding life to animation with timing, layout, design, color and sound. Waltham, MA: Taylor & Francis. Glebas, F. (2008) Directing the story: professional storytelling and storyboarding techniques for live action and animation. Amsterdam: Elsevier/Focal Press. Milic, L. and McConville, Y. (2006) The animation producer's handbook. Maidenhead: Open University Press.


Thomas, B. (2016) Narrative: the basics. London: Routledge. Wells, P. (2007) Scriptwriting: N. Developing and creating text for a play, film or broadcast. Lausanne: AVA Publishing SA. Winder, C. and Dowlatabadi, Z. (2011) Producing animation. (2nd ed.) Waltham, MA: Taylor & Francis. Recommended Bacher, H. P. (2015) Sketchbook: Composition Studies for Film. London: Laurence King Katz, S. (1991) Film Directing Shot by Shot: Visualizing from Concept to Screen. Massachusetts: Focal Press Levy, D.B. (2009) Animation development: from pitch to production. New York: Skyhorse Publishing. Maclean, F. (2011) Setting the Scene: The Art And Evolution Of Animation Layout. San Francisco: Chronicle Books Plympton, B. (2012) Make Toons That Sell Without Selling Out. Massachusetts: Focal Press Polson, T. (2013) The Noble Approach. San Francisco: Chronicle Books Santucci, W. (2009) The Guerrilla Guide to Animation: Making Animated Films Outside the Mainstream. Continuum Sijll, J. V. (2005) Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael Wiese Productions Wells, P. and Hardstaff, J. (2008) About Re-Imagining Animation: The Changing Face of the Moving Image, Fairchild Books Wright, J (2005) Animation Writing and Development: From Script Development to Pitch. London: Routledge


UNIT TITLE Perspectives Unit Code RCAA5013 Location Rochester Level Level 5 Duration (number of weeks) 25 Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 23rd February 2017 CONTENT This unit explores theoretical ideas that associate with postmodernity. A wide range of critical frameworks deriving from philosophy, linguistics, anthropology, feminism, media studies and economics are drawn upon in considering the aesthetics, production and consumption of computer animation, film and associated visual culture. The unit readies students to formally place their work within frameworks of theory and practice as required by their Level 6 Thesis unit. AIMS The aims of this unit are: A1 to promote awareness of theory in relation to creative practice and enable critical

engagement with key concepts. A2 to cultivate advanced academic literacy and independent study. A3 to develop sustained professionalism and effective project management. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 demonstrate academic literacy. LO2 employ advanced research skills. LO3 demonstrate sustained professionalism and effective project management. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity4 100 No. of hours of independent activity 200 No. of hours of placement activity 0 This will comprise: Lecture Seminar Tutorial Project supervision



Practical classes and workshops Film Programme Guided independent study




Weigh-ting (%)






Postmodernism Essay

50% Essay Written Assignment

3000

Thesis Proposal & Research Proforma

50% Written assignment Written Assignment

3000





Written

Written assignment, including essay 100% Coursework

Report Coursework


Portfolio Coursework



Coursework



Practical



Knowledge of: LO1


theoretical ideas with evidence of their relationship to contemporary practice.

Understanding through application of: the ability to identify a critical issue for discussion.

LO1

Understanding through application of: a range of research applied to arguments.

LO1, LO2, LO3

Understanding through application of: the ability to develop structures for argument that demonstrate an understanding of key theoretical ideas

LO1

Technical and applied skills through: the application of academic conventions

LO1, LO3

Technical and applied skills through: self-management and the skills associated with an independent learner.

LO1, LO2, LO3

READING LISTS Essential Barthes,R. (1984) Image, Music, Text Flamingo Baudrillard, J. (2004) The Consumer Society: myths and structures, London: Sage Butler, C. (2002) Postmodernism: A very short introduction (Oxford) Eagleton, T. (1992) The Illusions of Postmodernism. New Jersey: Wiley-Blackwell Jameson, F. (1998) The Cultural Turn. London: Verso Books Jameson, F. (1991) Postmodernism, or The Cultural Logic of Late Capitalism. Durham: Duke University Press. Lyotard, J. F (2007) Defining the Postmodern in During, S. The Cultural Studies Reader Abingdon-on-Thames: Routledge Harvey,D. (1990) The Condition of Postmodernism, New Jersey: Blackwell Ward, G. (2003) Teach Yourself Postmodernism. London: Teach Yourself Woods, T. (2010) Beginning Postmodernism (2nd Ed.) Manchester University Press Recommended Blaxter, L. (2010) How To Research (4th ed.) Open University Press.


Bocock, R. (1993) Consumption. London: Routledge Cambell, K. K. (2015) The Rhetorical Act: Thinking, Speaking and Writing critically. Wadsworth: Thomas Learning Cooper, S. (2015) Writing logically, thinking critically. London: Pearson Longman Cottrell, S. (2005) Critical thinking skills: developing effective analysis and argument. London: Palgrave Macmillan Featherstone, M. (2007) Consumer Culture and Postmodernism. London: Sage Gray, C. and Malins, J. (2004) Visualizing Research: a guide to the research process in art and design. London: Routledge Lechte, J. (2008) Fifty Key Contemporary Thinkers. Abingdon-on-Thames: Routledge. Mounsey, C (2013) How to write successful Essays Dissertations and Exams. Oxford: Oxford University Press Orna, E. (2009) Managing information for research. Open University Press


UNIT TITLE Perspectives Study Abroad Option Unit Code RCAA5014 Location Rochester Level Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version 23rd February 2017 CONTENT This unit explores theoretical ideas that associate with postmodernity. A wide range of critical frameworks deriving from philosophy, linguistics, anthropology, feminism, media studies and economics are drawn upon in considering the aesthetics, production and consumption of computer animation, film and associated visual culture. The Study Abroad option identifies a curriculum of key tasks and commensurate outcomes ensuring the student is equipped with the necessary principles, skills and experience in advance of Level 6 study. AIMS The aims of this unit are: A1 to promote awareness of theory in relation to creative practice and enable critical

engagement with key concepts. A2 to cultivate advanced academic literacy and independent study. A3 to develop sustained professionalism and effective project management. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 demonstrate academic literacy. LO2 employ advanced research skills. LO3 demonstrate sustained professionalism and effective project management. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity5 70 No. of hours of independent activity 130 No. of hours of placement activity 0 This will comprise: Lecture Seminar



Tutorial Project supervision Practical classes and workshops Film Programme Guided independent study




Weigh-ting (%)






Postmodernism 100% Written assignment Written Assignment

2000





Written

Written assignment, including essay 100% Coursework

Report Coursework


Portfolio Coursework



Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING OUTCOME


There should be at least one criteria against each learning outcome for the unit Knowledge of: theoretical ideas with evidence of their relationship to contemporary practice.

LO1

Understanding through application of: the ability to identify a critical issue for discussion.

LO1

Understanding through application of: a range of research applied to arguments.

LO1, LO2, LO3

Understanding through application of: the ability to develop structures for argument that demonstrate an understanding of key theoretical ideas

LO1

Technical and applied skills through: the application of academic conventions

LO1, LO3

Technical and applied skills through: project management and the skills associated with an independent learner.

LO1, LO2, LO3

READING LISTS Essential Barthes,R. (1984) Image, Music, Text Flamingo Baudrillard, J. (2004) The Consumer Society: myths and structures, London: Sage Butler, C. (2002) Postmodernism: A very short introduction (Oxford) Eagleton, T. (1992) The Illusions of Postmodernism. New Jersey: Wiley-Blackwell Jameson, F. (1998) The Cultural Turn. London: Verso Books Jameson, F. (1991) Postmodernism, or The Cultural Logic of Late Capitalism. Durham: Duke University Press. Lyotard, J. F (2007) Defining the Postmodern in During, S. The Cultural Studies Reader Abingdon-on-Thames: Routledge Harvey,D. (1990) The Condition of Postmodernism, New Jersey: Blackwell Ward, G. (2003) Teach Yourself Postmodernism. London: Teach Yourself


Woods, T. (2010) Beginning Postmodernism (2nd Ed.) Manchester University Press Recommended Blaxter, L. (2010) How To Research (4th ed.) Open University Press. Bocock, R. (1993) Consumption. London: Routledge Cambell, K. K. (2015) The Rhetorical Act Thinking, Speaking and Writing critically. Wadsworth: Thomas Learning Cooper, S. (2015) Writing logically, thinking critically. London: Pearson Longman Cottrell, S. (2005) Critical thinking skills: developing effective analysis and argument. London: Palgrave Macmillan Featherstone, M. (2007) Consumer Culture and Postmodernism. London: Sage Gray, C. and Malins, J. (2004) Visualizing Research: a guide to the research process in art and design. London: Routledge Lechte, J. (2008) Fifty Key Contemporary Thinkers. Abingdon-on-Thames: Routledge. Mounsey, C (2013) How to write successful Essays Dissertations and Exams. Oxford: Oxford University Press Orna, E. (2009) Managing information for research. Open University Press

Documents

UNIT TITLE Toolkit 2 Level Level 5 Total Learning Hours ...webdocs.ucreative.ac.uk/Computer_Animation_Arts_BA_R_year_2_uni… · 1-2 minute Animation Showreel . Table A2 – KIS Categories