MODULE SPECIFICATION FORM
Module Title:
Production Design
Module code:
Level:
Cost Centre:
5
GADC
Credit Value:
JACS2 code*:
W613
ARD510
Semester(s) in which to be offered:
1
With effect from:
September
2011
Existing/New:
New
Title of module being
replaced (if any):
Originating Academic
Creative Industries.
Module
Marisse Mari
area:
Media, Performance
Leader:
Sonia Di Gennaro
and Humanities
Module duration
200 hours
Status:
(contact hours/directed/
60 contact /
core/option/elective
directed private study:
140 directed
(identify programme
Core
where appropriate):
Percentage taught by Subjects other than originating Subject
(please name other Subjects):
none
20
Programme(s) in which to be
Pre-requisites per
Co-requisites per
offered:
programme (between
programme (within a
BA (Hons) Television Production
levels): N/A
level): N/A
and Technology
Module Aims:
To examine forms of communication, narrative and non narrative structures and the
importance of overall production design through a variety of design disciplines.
To consider the relationship between what is being communicated and target
audience/viewer.
To explore narrative and non-narrative processes, generic forms and modes of
representation at work in media and cultural texts.
Consider issues surrounding copyright and intellectual property, the audience it is intended
for, and how it will be presented.
To provide intellectual stimulus through the analysis of the production content that needs to
be communicated, culminating in production design, (including the opportunity to explore
literary forms and genres).
Expected Learning Outcomes:
At the end of this module, students should be able to:
Knowledge and Understanding:
1. Make distinctions between the roles of narrative and non narrative structures and
forms of communication across a range of production design disciplines.
2. Analyse and explore the relationship (meaning and effectiveness) between target
audience/viewer and what is being communicated.
3. Demonstrate practical use of production design disciplines to present either narrative
or non-narrative content as a solution to a chosen assignment.
4. Analyse and evaluate a variety of production design disciplines.
5. Produce negotiated work that demonstrates effective production design in areas such
as set, make-up, costume, dress, prop, sound, image and branding.
Transferable/Key Skills and other attributes:
Students should develop:

Commitment and motivation through personal expression of practical assignments.

Problem solving skills and the formulation of solutions in dialogue with peers, tutors
and others.

Their ability to interact effectively with others.

Ability in organising and managing supervised, self-directed projects.

Interpersonal/communication skills.
Assessment:
Formative assessment will take place during group critiques with student participation and in
individual tutorials that will take place prior to Christmas. Students will be assessed on the
presentation of concepts, design and production of final work. They will also be expected to
develop a reflective blog that evidences their research, investigation of ideas and a critical
evaluation of their visual work as it develops. Assessment will also take into consideration
their attendance, participation and performance during lectures, seminars, and workshops for
the overall module. Summative assessments will take place with a major review of work at
the end of the module.
In assessing the learning outcomes, a variety of factors will be taken into account, these
include:Research and investigation of narrative and/or non-narrative content within a chosen
production design discipline.
Conceptual development.
Communication of narrative or non-narrative production design solutions to an assignment.
The appropriate use of media and techniques.
Presentation and evaluation of final production design elements.
Assessment
Learning
Type of assessment
Weighting
Outcomes
Duration
Word count
(if exam)
or equivalent
to be met
if appropriate
Course work
Assessment:
All (1 – 5)
100%
N/A
N/A
Learning and Teaching Strategies:
Key lectures will examine forms of production design, narrative structures and the importance
of content and application within different design disciplines. Students will have a choice of
assignments and may interpret their design solutions in a number of directions using a variety
of media and methods. They will have the opportunity to work collaboratively between their
disciplines. Emphasis will be placed on research and analysis from critical and contextual
viewpoints.
Students will select the subject matter and determine the approach and structure of their
concepts in answer to their choice of assignment. They will give consideration to the
relationship between target audience/viewer and what is being communicated. Practical
studio work will involve concepts through to finished production design presentation. Students
will make formal presentations of their work to their tutors and peer group for critical analysis.
Emphasis will focus on the effectiveness of communication through narrative and nonnarrative forms.
Syllabus outline:
This module can be interpreted in a number of directions from an overarching assignment.
The broad theme of production design is linked to function and the power of screen based
communication of various disciplines such as set design, special effects, scenery, costume,
apparel, make-up, lighting, sound, atmospherics, branding and motion graphics; Also through
the means of persuasion and story-telling that conveys meanings that emerge from the
juxtaposition of images and the role of the audience or viewer in relation to what is being
communicated.
This module can be interpreted in a number of directions from given assignments that covers
a broad area of television programmes including: music, light and children’s entertainment,
factual, reality, documentary, period drama and sitcom etc. The broad theme will be
production design and or manipulation of content (i.e. overall look and feel, persuasion, storytelling, information, education and presentation).
The study of narrative and non-narrative structures forms the basis for meeting the
production design needs of different genres. This might include; quiz, talk, reality and
magazine shows, or story telling that can be applied to period and contemporary drama or
film making - as having a beginning, middle and an end. Alternatively, it may include more
formal structures that can provide clear frameworks for documentary, traditional narrative
conventions that are coherent and logical in sequence and meaning through to more abstract
meanings and messages that emerge from the juxtaposition of images and the role of the
audience or viewer in relation to what is being communicated.
Indicative Content:
Examining narrative elements of subject, theme, and story and developing knowledge in the
context of narrative forms and non-narrative forms. Themes of audience and ethics in relation
to genre, platform/medium and culture. The convergence of production design disciplines and
their application. Consideration of colour, construction, scale, texture, function, materials, set,
props, characters, presenters, celebrity, actor, audio, lighting, virtual scenery, CGI, incentive
and reward; Also systems of delivery for narrative and non-narrative experiences, the interrelationship between what is being communicated and audience perception.
Bibliography:
Essential reading:
Barnwell, Jane (2004) Production Design: Architects of the Screen (Short Cuts), London,
Wallflower Press.
La Motte, R. (2010) Costume Design 101: The Business and Art of Creating Costumes for
Film and Television, [ 2nd Edition], Michael Wiese Productions.
Other indicative reading:
Spigel, L (2009) TV by Design: Modern Art and the Rise of Network Television, U.S.A. , The
University of Chigaco Press.
Woodbridge, P. and Tine, H. (2001) Designer Drafting for the Entertainment World, Focal
Press
Van Sijll, J. (2005) Cinematic Storytelling: The 100 Most Powerful Film Conventions Every
Filmmaker Must Know, Michael Wiese Productions.
Gripsrud, J. Weibull, L. (ed.) (2010) Media, Markets & Public Spheres.
Lynn, Z (2001) Presenting for TV and Video (Stage & Costume), A & C Black.
Hill, A. (2007) Restyling Factual TV: Audiences and News, Documentary and Reality Genres,
[New Edition], Oxon, Routledge.
LoBrutto, V (2002) The Filmmaker's Guide to Production Design, U.S.A, Allworth Press,
Kilborn, R. (2003) Staging the Real: Factual TV Programming in the Age of "Big Brother",
Manchester, Manchester University Press.
Mills, B. (2009) The Sitcom (TV Genres), Edinburgh, Edinburgh University Press.
[Edited by Palmer, E. L. and Young, B.M.] (2003) The Faces of Televisual Media: Teaching,
Violence, Selling to Children (Communication), [2nd Edition].
Frayling, C. and Adam, K (2005) Ken Adam and the Art of Production Design, London, Faber
and Faber.
Tashiro, C. S. (1998) Pretty Pictures: Production Design and the History Film, University of
Texas Press.
Musgrove, J. (2003) Make-Up and Costume for Television (Media Manuals), Oxford, Focal
Press.
Moseley, R. (2005) Fashioning Film Stars: Dress, Culture, Identity, BFI Publishing.
Anawalt, P.R (2007) The Worldwide History of Dress, Thames and Hudson.
Curran, S. (2003) Convergence Design: Creating the User Experience for Interactive
Television, Wireless and Broadband, Rockport Publishers Inc.
Image & Narrative: Online Magazine of the Visual Narrative,
http://www.imageandnarrative.be/