Film & TV Showcase 2022 University of Greenwich FILM & TV 22
Film & TV Showcase 2022 University of Greenwich
Film & TV Showcase 2022 University of Greenwich FILM & TV 22
Contents
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Film & TV Showcase 2022 Message from the Head of School of Design 6 Professor Anastasios Maragiannis School of Design Research 2021—2022 Exhibiting our Research Excellence 8 Dr Benz Kotzen Introduction to Film and TV 12 Dr Lee-Jane Bennion-Nixon and Dr Chris Nunn Film & TV BA (Hons) Film & Television Production 15 BA (Hons) Film Studies 37 MSc Film Production 38 MA Film Production 397
Dear reader, we are Shifting Thinking!
If you read this, you have received a copy of the School of Design's annual publication celebrating student and staff work for 2022. This edition also includes a few critical essays to reflect on our vision.
Film & TV Showcase 2022 Message from
Enshrined in the 2030 agenda is the principle that every person should reap the benefits of prosperity and enjoy minimum well-being standards. This is captured in the United Nations 17 Sustainable Development Goals that are aimed at freeing all nations and people and all segments of society from poverty and hunger and to ensure, among other things, healthy lives and access to education, modern energy, and information and design can do that. Therefore, the School of Design is expanding to the future. We put EDI, entrepreneurship, and innovation at the centre of our pedagogic practices in response to the increasing demand for creative thinkers in the ever-growing creative industries and rapidly expanding circular economy.
The School of Design is part of the highly successful and vibrant faculty of Liberal Arts and Sciences. Frequently commended for our partnership working across the design and creative industries sector, the School delivers highquality research with funding reaching £ 4M. Our four main subject portfolios include a range of undergraduate and postgraduate programmes: #Architecture, #Animation, #DigitalArts, #FilmTV, #GraphicDesign, #InclusiveDesign, #LandscapeArchitecture, #MediaCommunications, #Urbanism, and more.
School of Design 8
Head
To design inclusively means that our students engage deeply with the end-users needs from the beginning of and the of
The University of Greenwich's brand new strategy recognises that these goals are challenging unless we make creative industries work for all. This year's degree show's emphasis is social inclusion. This term is defined as improving the terms of participation in society for disadvantaged people based on marginalised communities or economic status through enhanced opportunities, access to resources, voice, and respect for rights.
throughout the whole creative process, sharing practices and amalgamating potential solutions into what becomes a unique knowledge exchange. In addition, this holistic approach to design practice enables inclusivity irrespectively of disability, gender, ethnicity, vulnerability, language, or age. The UK is one of the world's most influential and dynamic markets for creative industries. The highly skilled sector thrives with talented, well-prepared graduates, and the university experience and qualifications are essential to many creative careers. The School of Design is shifting thinking and responds to this by leading on sustainable, diverse, and inclusive design across all disciplines, empowering our students to future success with the 2022 Showcase putting our graduates at the centre of creative practice.
The 2022 Graduates Determination and creative energy distinguish this year's graduates from the rest of the pack. An incredibly talented, culturally diverse group of designers and artists have been a joy and inspiration to work with. The students have worked on a broad body of projects, from print to screen, AR and VR, to conceptual explorations. Their work forges new lines of inquiry, engages established modes of thought, and develops innovative concepts with the potential to improve how we live as individuals, cities, societies, cultures, and as one planet. In these challenging times, this year's degree show embraces broad targets aimed at social inclusion and those who are the most vulnerable. It has never been more critical for our staff to endorse and our students to recognise creative practices for their positive impact on a multidisciplinary society: through inquiry, tradition & innovation, and the 2022 Showcase responds to this just perfect: in space, online and in print.
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Professor Anastasios Maragiannis Head of School of Design & Professor of Inclusive Design
School of Design
Research 2021—2022 10
The School of Design Annual Exhibition celebrates the high quality and wide scope of design work that is undertaken across our programmes. This display is largely visual, with stunning and evocative graphic and illustrative pieces that culminate from weeks, sometimes months and in some cases years of keen and creative thinking that unravels sets of problems that are enthusiastically conquered by the students. In Film and TV and Animation, the skilful and creatively produced work integrates sound, image and word bringing together practical and avant-garde productions that challenge the intellect and can evoke strong emotions. And whilst words are often used across the board, particularly in graphic design, the word is king across the disciplines, in the writing of essays on theory, context and history and particularly in students’ dissertations which acquire increased intellectual rigour and writing proficiency as they progress through their undergraduate programmes and into post graduate taught programmes. These works in words, accompanied by supporting images, (some of which are showcased at the 2022 exhibition) are extremely important “outputs” as they confirm both the writing and design abilities of prospective employees at job interviews as most creative jobs require their employees to be able to write all sorts of documents from simple letters to complex reports. The term “output” is extremely current, particularly in the context of the REF. The Research Excellence Framework ‘is an internationally recognised system for assessing the quality of research in the UK’s Higher Education Institutions’. This submission identifies the highest quality outputs that have been produced by academic staff during the REF period which was from 2014 until the end of 2020. The outcome of the submission to the REF by the University as a whole, is used to calculate the funding that is allocated to institutions for the next REF cycle. The submission is not only important in terms of funding, but it also indicates the strength of research across the staff in the School of Design and particularly as a means of calculating the growth in quantity and quality of research from 2014 to the end of 2020, calculated from the outputs themselves (60%), Impact Case Studies (5%) and the Research Environment (15%).
Benz Kotzen 11
Submissions to the REF are organised according to 34 separate Units of Assessment (UoAs) devised to cover the full range of research activity areas. The philosophy of the School of Design was to submit as many staff as possible, i.e. those who are undertaking research under Unit of Assessment 32, Art and Design: History, Practice & Theory. This resulted in 33 (30.5 FTE) staff submitting outputs at an average of 2.5 outputs per person (as required by the REF) with a total number of 75 high quality outputs, (books, book chapters, edited books, refereed journal articles and Multi Component Submissions [MCSs]) most of them at 3* and 4*, i.e. of quality that is ‘internationally ’ and ‘world leading’ and our impact was also predominantly 3* and 4*. The 17 MCSs were an outstanding new addition to the submission
Exhibiting our Research Excellence
Dr Benz AssociateKotzenProfessor, Research and Enterprise Lead School of Design
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portfolio. These focus on practice based research and combine the outputs of the researcher practitioner over a period of time in text and images which describes the research outputs, discusses the research question(s) and highlights the rigour, significance and impact of the research. 3 Impact Case Studies were produced and these combined with the Outputs and the Environment Statement provided a coherent and robust submission which raised our research quality and power way above where we were in 2022. For this, everyone involved should be congratulated as follows: George Ayekum Mensah, Michael Aling, Ghislaine Boddington, Rosamund Davies, Konstantinos Evangelinos, Somaiyeh Falahat, Lionel Feugere, Ivan Garcia Kerdan, Duncan Goodwin, Jim Hobbs, Anne Hultzsch, Ikpe Ibanga, Lindsay Keith, Stephen Kennedy, Andrew Knight-Hill, Maria Korolkova, Benz Kotzen, Hannah Lammin, Catherine Maffioletti, Anastasios Maragiannis, Sarah Milliken, Effiness Mpakati-Gama, Shaun Murray, Elena Papadaki, Caroline Rabourdin, Mohammad Sakikhalis, Miriam Sorrentino, Walter Stabb, Ian Thompson, Ed Wall, David Waterworth, Julie Watkins and Jonathan Wroot. The number of Post Graduate Research (PGR) students, those who are undertaking and completing PhD research is on the rise and so are our staff who are starting their PhD studies here in the School of Design. More opportunities are being given to ECRs (Early Career Researchers) to bid for research and participate in research projects and the supervision of PhD students. This is very important for our development of PGRs and ECRs, so that we can grow research in the School. Indeed, we want every academic staff member to be undertaking research and with this goal in mind, every staff member, where required will be mentored. We have been successful in numerous internal and external funding bids and we have either completed these or are currently working on these with UK and EU partners. All of these projects in themselves create new knowledge, but also provide a means for KE (Knowledge Exchange) which is a key strategic objective of the University, where our research makes a real difference in terms of society, economy and theCovidenvironmentwasanawful time and whilst we are not totally immune to its impacts, we can now look forward and approach our research with renewed vigour and purpose. Our engagement with the REF has driven home the fact that research has to have impact and that it needs to benefit people, profit and planet. These are the 3 foundation pillars of sustainable development. Going forward we are embracing the University’s strategy of our research engaging with the United Nation’s (UN’s) 17 Sustainable Development Goals (https://sdgs.un.org/goals), such as ‘no poverty, zero hunger, gender equality, sustainable cities and communities, life on the land’ etc. and we are already preparing for the next REF which will be towards the latter part of the 2020’s. Our transformation from 2014 to 2021 was remarkable and now we are looking forward to doing even better based on our commitment going forward and on the knowledge and experience gained.
Film & TV Showcase 2022 University of Greenwich S O 2 H W 2
FILM & TV Film & TV
Sarek of Vulcan (Spock’s Dad)
We are only just getting back to some semblance of ‘normal’ but nothing will feel normal about graduating and moving on from your home of the past three years. Because we have kept up the momentum here in FTV we have pushed through with some amazing work. “Disruption from a pandemic”, yes, but it doesn’t stop a creative doing what they love. There have been continued stresses and strains, but all said and done, sheer grit and creative collaboration have won the day.
Dr Lee-Jane Bennion-Nixon, Academic Portfolio Lead, FTV and Dr Chris Nunn, Programme Lead, BA Hons Film & TV Production
It really is no mean feat to pull off a film or TV pilot. During a pandemic or not, resilience and tenacity are core skills for all our students. Whether gale force winds and marquee tents, last minute location changes or pioneering in new technology and virtual production, our students have been at the forefront of production challenges this year and have met them head on.
Change is the essential process of all existence. You must challenge your preconceptions or they, most certainly, will challenge you.
Last year the news was that change is a constant, and for the staff and students on FTV we have not just embraced change, but we have used it to our advantage. Film and Television is a wonderfully rewarding path for the creative person but not without its challenges. We end up dealing with scheduling and logistics, events planning, health and safety, business and marketing, communications and people management at every stage. Oh, and lest we forget, the technical and craft skills.
We’re always still here for you, so do stay in touch and let us know what you’re up to. Per Ardua Ad Astra (Through difficulties the Stars (Trek))
As we transition into a new school, part ways, but only in name with the Design School, we embark on a new set of possibilities as the School of Stage and Screen. As for you graduates, for us staff also, we will continue to ride the waves of change, focusing always on the possibilities and opportunities afforded.
BA (Hons) Film & Television Production
OUR PRACTICAL FILM AND TELEVISION degrees encourage our students to be creatively adventurous, intellectually curious and ethically engaged. We ask that our students explore issues that matter to them, their peers, or their families, through the medium of filmmaking. We believe that context is king and take our students on a journey that will have them explore and enrich their under-standings of contemporary international production practices. As part of understanding the evolving context of production, our modules explore the history and application of storytelling principles, narrative and concept development, fiction and documentary production, as well as understanding and use of creative filmmaking technologies. Students also get a sense of industry practices by following live client style briefs, including some from external charities, and others that focus their filmmaking towards a selection of film festivals or push them towards innovation. Popular career choices for our film and television graduates include studio and location crew roles, editing and post production, as well as television and commercial work.
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Balance is a film that follows BEN, an aspiring astronaut in his 30s based on a Mars desert research station simulation center in Utah, looking to finish the final stage in his astronaut training camp. Our protagonist is trying to follow in his father’s footsteps in order to eventually become a prominent figure in the astrophysics realm. As he receives the news of his father’s illness, Ben is forced to choose between getting closure from his disapproving dying father, or finishing his training in hopes of fulfilling his lifelong dream, getting the recognition he desperately desires.
Balance film-113922957868416https://www.facebook.com/Balancehttps://www.instagram.com/balance.film/finefilmsuk@gmail.comjeanciuntu@gmail.com
Jean Ciuntu Director & Vp Producer James Penson Producer Hao Chen Editor Nada Onsy Script Writer& Supervisor Maya Kulpaka Production Design Heivi Curnutt Production Design Emils Lisovskis DOP Ben Marsal 1st AC & Gaffer Jose Pedrosa 2nd AC & Gaffer Morgan Smith Sound REC Mishael Holdbrook Sound REC Juliette Thymi 1ST AD Eduard Fadgyas Unreal Vp Env. Designer Jay Cao Vp Tech. Artist Warm Tones Sound Design FILM & TELEVISION 19
My Native Land www.instagram.com/mynativelandofficialevechristiefilms@gmail.comstephwoodsproduction@gmail.com
My Native Land is a short documentary by Shetland-born filmmaker Eve Christie. It is an extemely intimate and personal exploration into the relationship between her, her mother, her grandmother and her mother's sobriety after 15 years of alcoholism. This is told through Eve's journey back to her homeland as she hopes to reconnect with her family and the land that she comes from. Using the visually stunning landscape of Shetland, the film captures the metaphorical storm that Eve feels returning to her native land. Longing to be where ancestors have called home for millenia, she must begin to understand that her life may have to take place far away from this scenic and astonishing island in the north sea.
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FILM & TELEVISION 21
Eve Christie Director Steph Woods Producer & Sound REC Sam Spooner Cinematographer Ylenia Reyes Editor
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23vijaysrihari@gmail.comjansenkim99@gmail.comwww.instagram/sleeptight_shortfilm
Sleep Tight is a dystopian comedy that takes place in a world where after an earthquake, nobody can wake up anymore. A group of scientists is tasked by the president to create a cure… Are they able to stay awake long enough to save the world without losing their minds?
Sleep Tight
FILM & TELEVISION 23
Nikoleta Stefanova Make-up artist Alex Siebel Script Supervisor Saahir Ghani Editor & Runner Viswesh Ramesh VFX Artist Mohammed Shah Music
Vijay Sri Hari Director Kim Jansen Writer, producer & Colourist José Pedrosa DOP Emils Lisovskis 1st AC Shawna Stissi 2nd AC Ben Marshall Gaffer Mishael Holdbrook Sound recordist & Sound mixer Morgan Smith Sound recordist Maja Kulpaka Production Design Hannah Kim Production Design Assistant
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Crim alfiejackcromarty@gmail.comstephwoodsproduction@gmail.comhttps://www.instagram.com/crimtvshow/
CRiM is a mystery comedy-drama series, revolving around a small group of outsider students who solve mysteries on campus, as part of a “criminology society”. The pilot revolves around a series of thefts that have taken place at the university. After having a locket stolen from her in a criminology lecture, JADE reluctantly turns the mysterysolving criminology society. She learns that the society is in disarray, having lost their activity room, and all their members aside from AMIR and MARCO, who have pretty much given up on the society.
Steph
Producer & Production Design Agata Polanska Director Of Photography Matt Sandford Sound Design Aki Jeffreys Production Design Assistant Miles Davis Gaffer Josh Humphreys 1ST AD Harvey Flynn Editor FILM & TELEVISION 25
Alfie Jack Cromarty Director & Writer Woods Producer Isaac Hutchings
elza.lisovska98@gmail.comelisefrancisperry@gmail.comnstefanova.niko.leta@gmail.commorgansmithaudio@gmail.commarcusnperry@live.comemiils.lisovskis@gmail.combenshahan@gmail.comcontactvladmuresanhere@gmail.commiroslavtstefanov@gmail.comheistfilmuk@gmail.com
A short film that portrays three ambitious filmmakers, trying to write the best possible heist film. They aren’t making much progress until a waitress convinces them to rob the café where she is working.
A Heist Film
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Miroslav Stefanov Director Vlad Muresan Producer Ben-Shahan Marshall Producer Emils Lisovski Director Of Photography Marcus Perry Editor Morgan Smith Sound Design Nikoleta Stefanov Production design Elise Perry Costume Designer Elza Lisovski Art Director
FILM & TELEVISION 27
Hidden in the lies
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A tragic accidental death is not what it seems, after two students, Lola and Selena, uncover the truth in their memorial documentary about the life and death of Lola’s sister, Sasha Cole.
www.instagram.com/hidden_in_the_lies.filmHiddeninthelies.film@gmail.com
Natalia Darska Producer Shawna Stissi Cinematographer Macy Yip Director Elise NG Editor Abby Richards Screenwriter Hadiqa Raza Production Designer Domas Revaitis Sound
FILM & TELEVISION 29
The Journey is a fiction crime drama highlighting the life journey and social struggles of two women in the city. Natalia and Sahara are both from different backgrounds but have had the same struggles in life regarding violence or regular abuse. Natalia has just managed to come to London to seek asylum after going through a very difficult journey. She is forced to leave her home country and family to avoid abuse and pressures of military regime. Now she is homeless, a single parent to her 7 year old child and living her first days in London. Sahara is also from an unstable foreign background but has been living alone since a teenager which makes her very street wise. The misfortune of both characters evolves into a very special friendship by chance. Whilst trying to overcome some of their social realities in the city and working for an evil boss named Jafto, both characters end up on a murder investigation. Fortunately, the street wise Sahara has a trick in her sleeve which might help both characters, but this will mean she will take a gamble with her life and get involved with a very corrupt Police detective she has avoided for years.
The Journey tt.donmez@hotmail.com
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FILM & TELEVISION 31 T. Donmez Director, Writer, Editor, Co-Producer & Drone Operator Deborah Adams Producer & Sound Technician Hao Chen Cinematography & Production Assistant Anisa Hussain Production Design, Make up & Costumes Trae Allman Cinematography Hadiqa Raza Camera Operator, Sound & Set Assistant Ruby Sue Costume Design
The Dream Catcher follows two detectives as they search for the motive to a murder in the already-dreamt dreams of the victim. As these dreams unfold, we witness the victim being mistreated and abused by his employer.
32 The Dream Catcher www.instagram.com/thedreamcatcherfilm
FILM & TELEVISION 33
Nathen Lawrie Producer, Director, Editor Destiny Campbell Producer Chelsea Chloe Moukam Danke Writer
Alien vs Hippie Goths mimicreativearts@gmail.comalienvshippiegoths@gmail.com
This film is about Theodore, our paranormal investigator, who is trying to crack the case of the mysterious event on the occult farm that caused the disappearance of the creepy commune but gets more than he bargains for when picked up by a strange driver who tells him the true story.
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DervishMcCaully Kolev Mimi Hatri Writer, Director, Producer, Editor & Executive Producer Jennifer Pinto Assistant Producer Michaela Sheridan Assistant Producer & Transit Danny Collins Transit & Runner Aphra Borgartz Hair, Costume & MU Sarah Anjum Hair, Costume & MU Matas Molevicius DOP, Editor & Executive Producer Nithiyasri Kasiviswan 1st Assistant Director Dan Rubie Sound Recordist Shannon Collins SFX – MUA, Hair Costume & MU Marcus Perry Transit Miroslav Stefanov Graphic Designer Chris Kruger Sound Designer, Composer & Sound Recordist Ben-Shahan Marshall Script Supervisor Emils Lisovskis 1 st AC, 2nd Unit Director & Gaffer Alvaro Boix Vilaro 2nd AC, BTS, Runner Sally Hughes Executive Producer Nigel Duncan Executive Producer FILM & TELEVISION 35
36 The Next Move chessfilm2022@gmail.comwww.instagram.com/the_next_move_film
Life is like a game of chess, changing with each move. It is never known what life will give, or what the personal choice will lead to. For Amelia her life’s events are being symbolized through the game of chess — the victories and the losses. different perspectives for the next generation.
the next move may 2022 DIRECTOR AND WRITER: ELIZABETE BALODE PRODUCER: HEIVI CURNUTT DOP: SHAWNA STISSI CAMERA ASSISTANT: AGATA POLANSKA LIGHTING: KIM JANSEN SOUND: MORGAN SMITH EDITING: HARVEY FLYNN ORG SOUNDTRACK: TIPA MAKE UP: AGNIJA MIA LIFE IS LIKE A GAME OF CHESS FILM & TELEVISION 37 Elizabete Balode Director & Writer Heivi Curnutt Producer Shawna Stissi DOP Agata Polanska 1st AC Harvey Flynn Editor Kim Jansen Producer assistant & Lighting Morgan Smith Sound
BA (Hons) Film Studies
OUR DEGREE IN FILM STUDIES is designed to help students view films from a different perspective. In-depth examinations of film history, international industries and broader social and cultural contexts allow them to develop strong skills in critical analysis and research. This is aided by learning about camera techniques and editing processes first-hand, in order to obtain a detailed understanding of the medium of film. Our Greenwich Campus is a popular location for film crews and has featured in Hollywood blockbusters such as ‘Thor: The Dark World’ and ‘Pirates of the Caribbean: on Stranger Tides’. Career options for our graduates include working in distribution, exhibition and marketing within the film and TV industries, as well as advertising, curation, public service and teaching.
OUR FILM PRODUCTION MSC helps you to develop a critical and practical approach to production workflows, digital film technology, and the creative practices involved in film production. This degree allows you to grow your creative abilities to a high professional standard.
MSc Film Production
The MSc route focusses on the creative use of filmmaking technology, exploring techniques aiding storytelling and emotional engagement. This includes cinematography and editing, while also incorporating sections on production practice and film research. Optional courses are directing, screen writing and sound design. Skills learnt on these courses are then deployed in a final project. Film production is an increasingly dynamic sector and both programmes highlight the importance of practicebased research and film projects. They also touch on new technologies and how these are impacting professional practice.TheUniversity has well-resourced studios and students have access to high-end, industry standard digital camera equipment including: Canon, Sony, RED, and Arri Alexa systems. They also benefit from a full personal Adobe Creative Cloud subscription and will have access to edit and animation suites running Avid Media Composer, Black Magic Design Da Vinci Resolve and Nuke.
OUR FILM PRODUCTION MA helps students develop a practical and critical approach to the creative practices of film development and production, and their relationship refine a critical approach to creativity in areas such as writing, directing, and producing. There are a range of courses including Cinematography, Production Practice, the Film Research Workshop, Film Screenwriting and Directing Screen Performance, and students select from the following options: Emerging Cinematography Practices, Sound Design and Editing. Skills learnt on these courses are then deployed in a final project. These two cohorts are taught together and students collaborate for their major project work at the end of the year. These programmes also offer Arri Accredited Training.
MA Production
Film
Rossi + Kornelija Bružaitė
University of Greenwich School of Stage & Screen 10 Stockwell Street LondonGreenwichSE10
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ISBN: Design:978-1-911695-03-5ClaireMason+Guglielmo
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