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Barry Doyle
Alina Tobos
Aime Chapman
Rachel Roberts
Jayne Jeffries
James Suret
Afram  Girgis
Kerri Wynter

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Rachel Cowgill
Liz Holt
Stephanie Bower
Zeenat Khaliq
Jenny Gibson
Farah Iqbal
David Simpson
Cat Briggs

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Julio D'Escrivan
Ed Hallet
Steven Jan
Geoffrey Cox
Polly Flinders
Katherine Lewis
Ruth Stoker

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David Rudrum
Sharon Baines
Tom Devlin
Pat Hill
Katrina Fox
Val Robinson
Kate Papworth
Sophie Wyer

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Kuldip Singh
Franc Chamberlain
Alex Harker
Alex Heywood
Frank Peters
Kerry Woodhead
Fallon Conroy
Ben Fisher
Eric Hetzler

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Monty Adkins
Sam Gillies
Jessica  Malay
Rebecca Gill
Sally Pedley
Rob Ellis

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Nik Taylor
Carole Shaw
John Freeman
Ben Spatz
Hilary Elliott
Bridie Moore
Dave Calvert

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Merrick Burrow
Ildiko Csengei
Todd Borlik
James Underwood
Michael  Stewart
Jodie  Matthews
Nicola Firth

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Lisa Colton
Thomas Schmidt
Helen Border
Keith Laybourn
Pat Cullum
Rukhsana Browning

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Catherine Johnson
Khadja Akhtar
Richard McCulloch
Alistair Billam
Rosemary Hill
Caroline  Pringle
Julian  Schofield

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Stewart Worthy
Nicola Nutton
Jan  Herbst
Laurie Stras
PA Tremblay
John  Bryan
Rupert Till
Catherine Haworth

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I'm taking notes from the awayday table B discussions. 

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I'm taking notes from the awayday table B discussions. 

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lots of variables but we'll have to consider what drama's contribution will be. Screen acting is a working title and exemplifies the whole process as in it's a response to the unknown.
New modules are going to be hard to develop with Drama.
Perhaps The Technical Actor might be a good way of threading through a screen acting component.  Text into Performance or Creative Devising (YR 1) could have a Technical acting component.  In Year 2 we'd have a bottleneck problem of all drama students wanting to do a screen acting component.   Audition processes possibly won't solve this.  Previous experiences e.g. Cabaret Musical Theatre co production led to our NSS scores plummeting.

Carole cited the example of solo performance for music. which auditions.

John says we should provide the modules students want. Do we want to protect the status quo at the expense of the student experience/desire

Discussion of the name of the course - perhaps not drama theatre and performance.

NSS scores suggest that the course is already satisfactory

Ben is enthusiastic about the screen/film making idea but we shouldn't let screen performance or film production be dictated by what the Media/TV designers of the course say that it is.  This narrow thing called film making is not necessarily  what we should be delivering. So the notion of Screen Acting should be challenged.
Sound/image is delivered already by Music
Ultimately we have to have a voice in the design of this component.

We cannot be ready for autumn validation because we want to be fully on board with this, we find the opportunity it represents exciting but at the moment we are having to think about the next years course and prepare for our own research projects.

We have to be able to buy into this feel comfortable, ethical and creatively excited. This needs to be attractive to potential students so an esoteric approach might

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Heads up: Timelines for marketing materials. Images, content etc 

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Heads up: Timelines for marketing materials. Images, content etc 

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Idea: What is the USP?

What is the name?

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M says students of gaming don't want to make call of duty but want to make a small independent games like journey

Ben talks of immersive and interactive art performance

Dave wonders if this is the drama contribution what would it be like, what would our expertise contribute?

M says theatre companies are increasingly branching out into 'world building' sorts of creations fictions existing on different platforms.

Ben when we're teaching movement physical comedy farce these are things which don't fit the hollywood style but now people are making independent art projects that utilise film are into.  There's not such a demarcation between functions such as screen writing/directing/design etc.  This is what students will respond to.

Rachel and John say:
A shared empty space where students can come to work collaboratively on projects and playing this live or filmed or combinations of these

What we need is a longer conversation

We need to find out if there's an opportunity to develop something more about performance and less about Hollywood style naturalistic acting.

Are we making the film or not
We have to make sure that the film making in a module designed for acting is asking for problems we have an example of this from a previous instance in Theatre and Performance making.

Digital arts and digital technology might be a way of talking about this.

Ben: SCREEN SCHOOL differentiates itself from film school.  Dance and performance influences what screen work is now. Drama, theatre, dance, and performance have much more to contribute than just "Screen Acting."

Screen performance rather than "screen acting"?

Ben: Is it a course? Perhaps it is more than a course? Or less? We need larger conversations about this to include the breadth of what theatre can offer to this. We shouldn't just be slotted in - we can help to develop something much more exciting. There are USPs that can be developed with more input from theatre/performance/dance.

We're enthusiastic but we want to be EMBEDDED.

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Warnings
- lack of ownership of overall course identity;
- some subject areas seem uninvested/unengaged
- ensure that all students have parity of experience(cross discipline issue)
- ensuring professional attitudes between members of staff across disciplines and consistency of advice (not criticising other subject areas/members of staff to students and other stakeholders)

Comments
Interdisciplinary Learning is good for broadening horizons and opening up opportunities;
Accommodating strengths, which encourages student’s confidence

Questions:
Are there any additional academic skills which would need to be supported?
How to reference films in APA6?
How to ensure interdisciplinary learning students have a cohort identity/peer support?

Suggestion
Ask David Rudrum to design a module on Film and Philosophy and give him pay rise
Field trips to local film locations/subject relevant points of interest
Exchange opportunities with American/ international film schools

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Collaboration and student concerns
Students worry about capacity for peers in their work group to derail projects. Assessment needs careful monitoring and management.

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Collaboration within course structure is different to external collaboration and there is complexity here... so need to ensure we account for both. External has three dimensions....within school, within uni, wider.

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This needs someone dedicated to managing all aspects of collaboration:
Developing partnerships
Monitoring student involvement
Negotiating assessment
Ensuring fairness in assessment

This needs to be at least a lecturer.

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Are projects year-long or do the straddle a number of years.

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Four categories:
Fiction (historical drama eg)
Non fiction (e.g. artistic or expositional)
Fine art
Educational ( e.g. science)
Gaming

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Apropos of Dave's comments in Part II he's concerned that we should be involved in an integrated way and that what we can contribute to the programme should be fully considered. We shouldn't bend too much to the needs of the screenschool programme but also that the screenschool needs to have a coherent programme that we contribute to in a constructive and coherent way. .

There were enthusiastic comments about the creative possibilities about the way different digital and recorded media could be integrated into the programme at Drama Theatre and Performance

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I agree with this:

"It would be exciting to do a film school where our focus was on new digital tech (go pros, smartphones etc) and it would tie more to our USP"

The shift towards flexible and low budget filmmaking also means a change in the way roles work, as Cornel said in his talk. Theatre has some crucial aspects to contribute to this: not just acting as a skill but also: for directors, how to work with actors; other kinds of performance including voice, comedy, clown, dance. Site specific work, ensemble dynamics, improvisation — these are all growing areas of filmmaking in the digital age which require a theatre/performance perspective to be integrated with film/media.

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USP is unique selling point - it means what distinguishes our program from others. I think Cornel's idea is that SCREEN is a kind of vision as distinct from filmmaking or digital arts. I agree with this and I think we could take advantage of local film and performance production to demonstrate the USP.

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Increasingly with digital and internet focused filmmaking, genre distinctions are dissolving. Madelon Hoedt mentioned the concept of TRANSMEDIALITY, content that actively moves across media: from television to cinema to internet to book to live event to game... I think we could look at this as a possible central USP which also would highlight the interdisciplinarity (especially across media, music, and performance or performing

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I'm increasingly working on video as a form of research output. Obviously this couldn't be the main focus of a screen school, but it could be a way to integrate "theory and practice" in the school.

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What can be the title? Definitely not "Film and TV" if we are focusing on independent, guerilla, experimental, internet, transmedia practice. Anyway Thomas says it can't be called a School because that's not the accurate unit.

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Talks from Industry Professionals and Networking

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Talks from Industry Professionals and Networking

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It might be worth contacting Graham Hoyland who is a Professional Filmaker/Producer. He has worked for BBC Manchester and ran the Extreme Film School in 2004. I worked there when I was selected as 1 of 15 contestants in a national competition to be trained using Final Cut Pro to create a short film for the Kendal Mountain Film Festival in Cumbria. He does deliver talks and lectures and could create the same industry experience for students.

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Create annual short-film festival consisting of dissertation-level final year projects. Panel of industry experts (C4, Screen Yorkshire, BBC, local YouTuber, etc) and staff select winner. Possibly prize in the form of internship or short-term contract with company from panel of industry experts.

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Create annual short-film festival consisting of dissertation-level final year projects. Panel of industry experts (C4, Screen Yorkshire, BBC, local YouTuber, etc) and staff select winner. Possibly prize in the form of internship or short-term contract with company from panel of industry experts.

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For the analytical element, it might be useful to work with some performance theory (I assume drama may also have expertise in this). I'm mainly thinking of e.g. Jeffrey Alexander's model of social performance, and modules/specialisations could speak to various elements of this (scripts, actors, mise-en-scene, etc). Analytically, it would be interesting to look at how these elements work in different types of broadcast content that have distinct purposes - commercial, political, entertaining, etc.

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Joint projects could work well across the courses so that students learn to collaborate in ensembles that include script writers, actors, producers, music creators, etc (directing and choreography is, as far as I gather, not included in the proposed modules and may make this idea problematic, though). These ensembles could be used to create final-year projects and run throughout the final year. Ensembles would be put together according to the type of performance - creative, commercial, political, etc. - perhaps on the basis of pitches by individual students.

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e.g. on screen & performance
This would be a way of establishing interdisciplinary research partnerships and explore the ways in which different/contrasting/integrated theoretical perspectives and methods can be fruitful for new forms of analysis.
I'm currently working on setting up an interdisciplinary political performance network, which brings together political communication and theatre studies researchers. Something similar could be established across departments within the school with regular meetings, presentations and joint publications.

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Renting out studio space during timetable gaps?

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Renting out studio space during timetable gaps?

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MA in Participatory communication design?

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MA in Participatory communication design?

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UAL has an MA in interaction design communication: https://www.arts.ac.uk/subjects/animation-interactive-film-and-sound/postgraduate/ma-interaction-design-communication-lcc

Could we do something along those lines but aligned with the centre for participatory culture, drawing on expertise/existing modules on users, and building up more of a digital content production portfolio? Maybe also drawing on existing modules in computer studies/design.

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Offering short summer courses targeted at professionals

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Offering short summer courses targeted at professionals

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Courses e.g. on online video production, digital content creation, directing a video ad, video editing, etc.
Audience e.g. marketing professionals, account managers, communication professionals, online content managers, etc.