2 - Videofilm III

To acquaint students with the principles and ways of preparing a project in the video and film pre-production stage, considering the order of particular procedures and the principles of creating the production of the product as a whole. The work on an individual or team project is supported by theory, which prepare the students for the next step, as well as by an immediate reflection or an analysis of their work, enabling them to have an optimal and deepened progress.
To acquaint students with the basics of how to incorporate an idea, which in its final form is realised as a product, a video product, into a specific form of expression, so that the idea may achieve an optimal effect in the audiences and perception, whether we deal with an artistic or reproductive field of expression.

General competences obtained by students within the module: * autonomy in professional work; * development of communication knowledge and skills; * ethical reflection and commitment to professional ethics; * cooperative approach, team work.

To place the student into the centre of the production process of his own project, where he needs to use all the, up to that point, acquired knowledge and experience to lead an interdisciplinary working team (note: no matter how many team members the student may need in his working process, his creation of the practical diploma project will surely demand a cooperation with a number of persons; for example, an organisation of the work's exhibition, of the shooting team, and the like).
At the same time, the aim of the subject is to provide an opportunity for the student to set himself as a creative personality capable of defining his own goals, finding a way and solutions, developing his own idea, and creating his own complex creative project.

The prerequisits: knowledge acquired in year one and year two of the programme, and active student participation in all stages and at all levels of the study process, which apart from active attendance at lectures and participation at practice sessions also includes: individual creation and development of ideas (independent and within the active two-way mentor – student communication) – the exchange of ideas occurs on the personal level and via the web system; and a continuous independent work (research, creative and performative) throughout the year.

Year Three:
In this year, the student has an opportunity to choose his or her more specific field; in line with the field, the student, along with his mentor, defines the framework of his diploma thesis, which can be poetic, genre-focused, research, or experimental.

The student has an opportunity to get to know and develop the other aspects of video as an expressive media in combination with other modules and through the elective contents. In the final year, the student, if he happens to have interest in the field of contemporary visual arts rather than in the film arts, may decide to do his diploma thesis within, or in combination with, the Contemporary art practice modul.

Work in the module (4 ECTS): * research related to specific assignments, based on the defined project (if needed, the mentor may decide to give special exercises, seminar assignments, or mini projects).

Diploma work (16 ECTS): * the practical part of the diploma thesis: an independent* creative project (short feature, documentary, experimental film); * the theoretical part of the diploma thesis: a research of the theme background (theoretical, historical, or technical), connected with the practical part of the thesis; simultaneously, the practical part is worked out in the theoretical assignment – it takes the greater or smaller share of the assignment, depending on its definition. * Diploma thesis defence in front of a committee.

*Sometimes it makes sense that we have here a group project; in this case, the individual author's thesis application (with all the accompanying documentation) must be precisely defined and evaluated.

• Ability to plan and produce a multi-layered film or video product;
• ability to discern and critically evaluate film or tv products within the simultaneous production of regular distribution;
• ability to articulate one's critical thinking on and within one's field of work.

• Michael Rabiger & Hurbis-Cherrier: Directing, film techniques and aesthetics - (New York (NY) ; London [i. e.] Abingdon (Oxon) : Focal Press, 2020) Catalogue
• Danijel Arijon - Grammar of the film language (Los Angeles : Silman-James Press, 1991)Catalogue E-version
• Directing Actors - Judith Weston (Studio City, CA : Michael Wiese Productions, cop. 1996) E-version

Recommended reading:

• Kako obleči Akt - Yvette Biro (Karantanija: Zavod za odprto družbo v Sloveniji, 1998) Catalogue
• Mckee, Robert: Zgodba: substanca, struktura, stil in načela scenarističnega pisanja, UMCO d.d. 2008. Catalogue

Practice and group work 20%, Complex creative assignment 40-50%, Theoretical assignment 20-30%, Diploma thesis defence 10% The ratio may be a bit different, depending on whether the thesis has theoretical rather than creative focus. Upon an agreement with the student, the mentor submits the thesis proposal, which is confirmed by the students' committee. The diploma thesis defence may considerably influence the student's final grade.

pridr. prof. MARTIN TURK je diplomiral na AGRFT Univerze v Ljubljani, smer filmska in televizijska režija. Kot režiser in scenarist je posnel tri celovečerne igrane filme (Nahrani me z besedami, Dober dan za delo, Ne pozabi dihati), en igrano-dokumentarni celovečerni film (Doberdob – Roman upornika) in številne kratke filme. Njegovi filmi so bili predvajani na mnogih mednarodnih festivalih in za svoja dela je prejel več domačih in mednarodnih nagrad.