• Regent’s University London Featured Masters Courses
  • Imperial College London Featured Masters Courses
  • University of Edinburgh Featured Masters Courses
  • Leeds Beckett University Featured Masters Courses
  • University of York Featured Masters Courses
  • Xi’an Jiaotong-Liverpool University Featured Masters Courses
  • Swansea University Featured Masters Courses
University of Lincoln Featured Masters Courses
Institute for Advanced Architecture of Catalonia Featured Masters Courses
University of Leeds Featured Masters Courses
Coventry University Featured Masters Courses
Newcastle University Featured Masters Courses
"narrative"×
0 miles

Masters Degrees (Narrative)

  • "narrative" ×
  • clear all
Showing 1 to 15 of 223
Order by 
Human beings are great storytellers, making sense of their experiences by constructing narratives to help them analyse the things which have happened to them or to the world around them. Read more
Human beings are great storytellers, making sense of their experiences by constructing narratives to help them analyse the things which have happened to them or to the world around them.

Narrative research offers new areas of inquiry and creative solutions to problems in a wide variety of areas.

The University of East London has been a pioneer in the subject, establishing its prestigious international Centre for Narrative Research in 2000. It continues to attract leading academics and researchers from around the world.

We understand that it is not always possible to make it on to campus to study. Many of our students live overseas, while others have family and work commitments to balance.

So, flexible learning is a key to this course. You will have the option of studying the full PG certificate by distance learning, including the Narrative Research and the unique Narrative Force modules. But, if you can, you are also welcome to attend our on-campus sessions.

WHAT YOU WILL STUDY

The course consists of two core 30-credit master’s-level modules in Narrative Research and Narrative Force – how a story can sometimes have a force or dynamic of its own.

Through a range of theoretical and methodological perspectives, it addresses key questions which will give you the skills to make decisions about how to conduct narrative research to produce the most meaningful results possible. These questions include:

How do people come to see themselves as distinct subjects about whom a story can be told? What role do memory and ideology play in people’s accounts of their lives?
How do class, ethnicity, gender and other social characteristics shape the stories people tell? How does culture intervene in the way narratives are produced?

How do we decide on a research question in narrative analysis? What are the advantages and disadvantages of different modes of narrative inquiry and analysis?
What are the possibilities and limitations of narrative research for drawing conclusions of theoretical and practical significance?

HOW YOU WILL LEARN

The learning materials for this course are detailed and activity-based to encourage you to engage actively with concepts, theories and techniques. We will provide you with key reading texts, while the learning material provides links to electronic journals and websites.

Online support is available through two platforms: UEL Direct and UEL Plus.
UEL Direct provides access to online services, enabling you to manage your account and view your assessment feedback and results online. It also provides general course information and some support material tailored to the needs of distance learners.

UEL Plus, the platform used for the delivery of the course, provides the academic content for each module and facilitates online discussions between learners and UEL staff. It also helps you download course material.

Sometimes we use Skype for tutorials and we encourage our students to interact with each other on their ideas and learning. This is part of a flexible approach to all of your learning.

Our academic team are actively involved in both international narrative research projects and in producing publications on the latest developments in practice across a variety of areas.

They have also written respected text books on narrative research. So you will have access to academics who are experts in both the practical and theoretic approaches to the subject.

YOUR FUTURE CAREER

Our students for distance learning are based all over the world – from Canada and New Zealand to Sweden and other parts of the UK – and their career paths go in many different directions.

Some are looking to use narrative research in their current jobs, returning to work with a completely new set of skills which will allow them to apply for more challenging roles within their organisation.

Others are PhD students or researchers intending to use narrative research in their work and adopt a more creative approach to their current role or research.

We have wide experience of teaching students from health services or organisations, especially the National Health Service in the UK. But our courses have also attracted people working in variety of industries from the media to public sector bodies and local authorities.

Using and applying narratives is an expanding area for careers, especially in fields such as academic social science and cultural studies, applied social policy and in the computer industry.

By working with some of the most experienced narrative research experts in the world – especially through the Centre for Narrative Research – you will finish the course with the knowledge and connections to help you in your current role and open up new career opportunities.

Read less
The Narrative Medicine master's program seeks to strengthen the overarching goals of medicine, public health, and social justice, as well as the intimate, interpersonal experiences of the clinical encounter. Read more
The Narrative Medicine master's program seeks to strengthen the overarching goals of medicine, public health, and social justice, as well as the intimate, interpersonal experiences of the clinical encounter. The program fulfills these objectives by educating a leadership corps of health professionals and scholars from the humanities and social sciences who will imbue patient care and professional education with the skills and values of narrative understanding.
Health care and the illness experience are marked by uneasy and costly divides: between those in need who can access care and those who cannot, between health care professionals and patients, and between and among health care professionals themselves. Narrative medicine is an interdisciplinary field that challenges those divisions and seeks to bridge those divides. It addresses the need of patients and caregivers to voice their experience, to be heard and to be valued, and it acknowledges the power of narrative to change the way care is given and received.

Program structure

The Narrative Medicine graduate degree requires 38 points to complete. Those studying full-time can complete the program in one academic year plus the following summer, and for a few students, in one academic year. Students electing to study on a part-time basis can complete the degree in two years. The part-time option is designed to accommodate the professional obligations of students who are employed. This is a rigorous and concentrated program that demands a serious commitment of time and energy. Students are expected to devote significant time to completing reading assignments, class assignments, and term projects outside of class.
Degree requirements include the five Core Courses in Narrative Medicine (22 points) and the Research Methodology course (4 points), which is required for all students who have not taken a graduate-level course in research methodology, with a focus on qualitative research and/or evaluative research. The remaining 12 to 16 points may include any combination of (1) additional Topics in Narrative Medicine courses; (2) elective courses chosen from other departments (up to six points: note that many graduate courses in other departments are three points each); Independent Study (one to four points) and/or (4) a Capstone (two to four points).
The core curriculum of this pioneering M.S. in Narrative Medicine combines intensive exposure to narrative writing and close reading skills, literary and philosophical analysis, and experiential work, with the opportunity to apply this learning in clinical and educational settings. Core courses provide the conceptual grounding for work in narrative medicine, and introduce the direct practice of teaching narrative competence to others. Students combine core curriculum work with more focused study of important and current topics in the field. Focused seminars draw on the resources of more than one discipline. Courses rotate to reflect the current concerns, methodologies, and analytic approaches of narrative scholars and practitioners. To allow students to individualize their professional education in narrative medicine, they may choose electives from among a wide range of offerings at the University, with advice and approval of the faculty adviser. Electives enable students to gain knowledge in academic disciplines they wish to pursue (e.g., medical anthropology) or in subject areas of special professional interest (e.g. aging).The optional Capstone Project offers a wide range of opportunities for supervised or mentored work: a clinical placement, a program development and/or evaluation project, a scholarly thesis, or a writing project. It may combine independent work with a summer intensive workshop, such as the Columbia University Oral History summer workshop or an intensive writing workshop. The requirement can also be satisfied by clinical practicums that may include teaching, witnessing, or serving as a teaching assistant.

For more information on the courses please visit the website: http://sps.columbia.edu/narrative-medicine/courses

Research Methodology

All students who have not taken a graduate-level course in research methodology, with a focus on qualitative research and/or evaluative research, are required to take our Research Methods in Narrative Medicine course

Funding and Financial Resources

We want to make sure that the cost of your continuing education and professional studies do not stand in the way of your goals.
Most students at the School of Professional Studies use a combination of savings, scholarships, loans, outside grants, sponsors, or employer tuition benefits to cover the cost of attendance. However you choose to finance your education, consider it an investment in your future, and know that we, in conjunction with the Office of Student Financial Planning, are here to help and advise you along the way.

You can find more information on the funding available here: http://sps.columbia.edu/narrative-medicine/tuition-and-financing/financial-resources

Read less
Take advantage of one of our 100 Master’s Scholarships to study Ancient Narrative Literature at Swansea University, the Times Good University Guide’s Welsh University of the Year 2017. Read more
Take advantage of one of our 100 Master’s Scholarships to study Ancient Narrative Literature at Swansea University, the Times Good University Guide’s Welsh University of the Year 2017. Postgraduate loans are also available to English and Welsh domiciled students. For more information on fees and funding please visit our website.

The MA in Ancient Narrative Literature is the first of its kind in the world. It draws on world-level expertise to explore the various types of narrative produced in ancient Greece, Rome and Egypt.

Key Features

This MA in Ancient Narrative Literature focuses on the narratives of the ancient Greeks, Romans and Egyptians, both fictional and factual, in a variety of literary forms, including the novel, epic poetry, mythology, historiography and biography. It is taught by a team of scholars associated with the KYKNOS research centre, whose research in this field is internationally recognised.

The MA in Ancient Narrative Literature introduces students to the key concepts of literary and cultural theory connected with narrative and encourages them to explore new ways of reading ancient texts. As well as some of the classics of ancient literature, the MA in Ancient Narrative Literature also examines some less familiar texts that articulate the stories of sections of the ancient population marginalised by gender and social status.

The MA in Ancient Narrative Literature offers excellent preparation for students who intend to undertake further research in this exciting and rapidly developing area of Classical literature. Students will have the opportunity to begin or continue the study of Greek and/or Latin.

Students of the MA Ancient Narrative Literature can take advantage of the College of Arts and Humanities' Graduate Centre which fosters and supports individual and collaborative research activity of international excellence and offers a vibrant and supportive environment for students pursuing postgraduate research and taught masters study. The Centre provides postgraduate training to enhance academic and professional development and facilitates participation in seminar programmes, workshops and international conferences.

Modules

Modules on the MA in Ancient Narrative Literature typically include:

• Narrative Theory and Genres
• Ancient Greek or Latin language
• Being Greek Under Rome: Greek Literature and Culture in the Imperial Period
• Romance Refracted and Novels Renewed
• Greek and Roman Magic :Exploring the Sources
• Reading Academic German
• Explorers, Travel and Geography
• Saints and Sinners in Christian Late Antiquity
• Word, Metaphor, Allegory: effective models of reality

Student Quote

"I studied at Swansea University for my Undergraduate degree and fell in love with the city, the university campus and the lecturers and supporting staff at the university. Deciding to do my MA in Ancient Narrative Literature here was therefore partly influenced by this. However, Ancient Narrative Literature at Swansea University was an attractive choice mostly because of the quality of the lecturers here. Both Professor John Morgan who is already a highly esteemed scholar within the area of the Ancient Greek novels and Dr Ian Repath who is a rising star in the same subject area make Swansea University the ideal place to study Ancient Narrative Literature at MA level."

Ida Meland

Read less
Human beings are great storytellers, making sense of their experiences by constructing narratives to help them analyse the things which have happened to them or to the world around them. Read more
Human beings are great storytellers, making sense of their experiences by constructing narratives to help them analyse the things which have happened to them or to the world around them.

Narrative research offers new areas of inquiry and creative solutions to problems and is increasingly used in a variety of areas. UEL has been a pioneering university in the subject, setting up the prestigious Centre for Narrative Research in 2000.

Throughout the course you’ll have access to the Centre, which supports research on spoken, written and visual narratives and fosters inter-disciplinary work. It brings together researchers from psychological, sociological, anthropological, cultural and media studies, humanities, arts and performance research traditions into a productive dialogue.

This MA is a unique, inter-disciplinary course, drawing on social sciences and the humanities to help you learn narrative theories and methods. It will give you experience in the application of narrative concept and analysis and guide you through the planning and performance of a piece of advanced and original narrative research.

WHAT YOU WILL STUDY

You will undertake four modules and a dissertation and you can study full-time for one year or part-time for two years. Through a range of theoretical and methodological perspectives, the MA addresses a number of key questions:

How do people constitute themselves as subjects within narratives? What role do memory, ideology and audience play in people's accounts of their lives? How do class, ethnicity, gender and other social characteristics shape the stories people tell? What are the ethics of narrative research? How does narrative research relate to discourse analysis, ethnography and other kinds of qualitative work? When we are embarking on narrative research, how do we decide on a programme of research, a procedure and means of analysis?

You’ll undertake a supervised research project in an area of your own interest. You can develop the dissertation from a proposal undertaken in the Narrative Practice module or you can develop something separately.

YOUR FUTURE CAREER

UEL has enjoyed strong links with the National Health Service in the UK in the last 15 years, especially with staff involved in mental health care.

NHS professionals from the leading mental care centre at the Tavistock Clinic in London as well as general practitioners have studied on the MA course to understand how they can use narrative research in their daily work. The course has also attracted people working in such varied industries as the media, public-sector bodies and local authorities.

The course enables professionals to return to work with a completely new set of skills which allow them to apply for more challenging roles within their organisation or to adopt a more creative approach to their current role or research.

PhD students or other researchers use the course to expand their techniques and research capabilities. Using and applying narratives is an expanding area for careers, especially in fields such as academic social science and cultural studies, applied social policy areas, health services and in the computer industry, particularly in the development of narrative-based games. By studying this MA, you’ll be putting yourself at the heart of cutting-edge research which is globally recognized.

MODULES

Narrative Research (core)
Narrative Practice (core)
Political Narratives (optional)
Genealogical Research Strategies (optional)
Life-course narratives (optional)
Subjects in Culture (optional)
Feminist Postcolonialism: Orientalism, Gender, Sexuality (optional)
Psychosocial Analysis of Forced Migration (optional)
Dissertation (core)

Read less
On this course you'll design visitor experiences and events for museums, brand, urban and community environments and work in small multidisciplinary teams to tell stories through text, image, sound and physical space. Read more

Introduction

On this course you'll design visitor experiences and events for museums, brand, urban and community environments and work in small multidisciplinary teams to tell stories through text, image, sound and physical space. You'll benefit from strong industry links that provide live, funded projects, mentors and placements.

Content

MA Narrative Environments is part of the Spatial Practices programme. The course combines storytelling with experience design, interaction design, museum studies, exhibition design, event design and communication design. You will develop and install interventions in cultural and corporate settings as well as making critical urban interventions in the public realm. You will undertake site and social research, visiting spaces, observing, filming and talking to visitors and inhabitants. You'll also produce proposals and make and test these in situ.

Distinct disciplines contribute to the postgraduate programme. Developing a new science centre, for example, draws on architects, curators, destination consultants, 3D designers, communication designers, interaction designers, time-based media designers, scenographers, writers, retailers and project managers. We value all.

Structure

MA Narrative Environments lasts 60 weeks structured as two consecutive periods of 30 weeks each (i.e. two academic years) in its 'extended full-time mode'.

MA Narrative Environments is credit rated at 180 credits, and comprises 2 units:

Unit 1 (60 credits) lasts 20 weeks.
Unit 2 (120 credits) runs for 10 weeks in the first year and 30 weeks in the second year.

Both units must be passed in order to achieve the MA, but the classification of the award of MA derives from your mark for Unit 2 only.

Read less
The UK’s only dedicated degree in narrative non-fiction writing. This master’s programme is designed for those with an ambition to write within the range of non-fiction genres. Read more
The UK’s only dedicated degree in narrative non-fiction writing.

Who is it for?

This master’s programme is designed for those with an ambition to write within the range of non-fiction genres. Running over two years, it attracts students from a wide variety of backgrounds and ages, all of whom work closely within workshop and tutorial settings to produce a publishable work. The unifying factor for all writers on the programme is their intention to deliver their research or story through a narrative structure.

Objectives

Our definition of narrative non-fiction includes biography, travel, history, life writing, true crime, sports and other forms of sustained and structured non-fiction storytelling. The Creative Writing (Non-Fiction) MA provides you with essential skills and a supportive and challenging environment in which to write a full-length work of narrative non-fiction. You will develop your research skills, experiment with different writing styles, reflect on your own and other writer’s work and learn the essentials of the publishing industry.

Teaching and learning

The teaching, all by published authors, across the two years is front-end loaded in terms 1 and 2 with workshops, with workshops, lectures and seminars held two days a week. Here you will extend your writing skills, your understanding of non-fiction genres and your awareness of creative possibilities. You will also analyse the work of leading writers and explore writing through a variety of exercises, encouraging you to experiment with new approaches.

All workshops are based around the students’ own writing assignments which work towards the completion, or opening chapters, of a book. We also closely analyse published works of non-fiction, taking apart books to examine their style, structure and research methods.

Throughout the two years there are readings and workshops with visiting authors. In terms 3, 4, 5 and 6 you work principally on your own book project with the support of one-to-one tutorials.

In term 6 (the final term) the lectures and guest sessions focus on the publishing industry which will provide you with the knowledge to be placed with a literary agent. During the final term you will have the opportunity to read from your work in progress, to contribute to anthology of writing and to submit a full draft of your book.

Modules

Term 1
-CWM 959 The Fundamentals of Non-fiction (core)
-CWM 958 Literary Criticism (core)
-CWM935 Storytelling (core)
-CWM956 Complete Book (core)

Term 2
-CWM957 The Process of Writing (core)
-CWM 958 Literary Criticism (core)
-CWM935 Storytelling (core)
-CWM956 Complete Book (core)

Terms 3,4,5 and 6
-CWM956 Complete Book

Career prospects

The MA creative writing non-fiction is proud of its track record in publishing with students from the programme winning publishing contracts every year.

Graduates include:
-Peter Moore, The Weather Experiment (Chatto and Windus),
-Anne Putnam, Navel Gazing (Faber and Faber)
-Bridge O’Donnell, Inspector Minahan Makes a Stand (Picador).

Graduates have also gone on to work for media outlets and used their transferrable skills in a variety of professions including teaching, political campaigning and in the charity sector.

Read less
Add expertise to your talent and ideas and learn in the company of industry experts on this innovative, inspiring course for aspiring writers. Read more
Add expertise to your talent and ideas and learn in the company of industry experts on this innovative, inspiring course for aspiring writers.

If you want to make a career in writing, this course is for you. You already have talent and ideas, we’ll add the expertise you need to approach your chosen market with confidence, originality and skill. No ambitions are out of bounds: we love commercial genre fiction and literary experiments equally.

We aim to ensure our graduates are equipped to succeed - and to change the culture they choose to enter.

See the website http://www.napier.ac.uk/en/Courses/MA-Creative-Writing-Postgraduate-FullTime

What you'll learn

We take an innovative approach to the training and support of aspiring writers, driven by intellectual ambition and practical industry experience. There are four strands to the programme:

• developing narrative technique
• practising vocational skills (including abridgement, adaptation and collaborative creation)
• experimental, theoretical and personal development work
• regular one-to-one editorial mentoring

Uniquely, the course offers a dynamic range of cross-disciplinary options. Writing for graphic fiction, screenwriting, interactive media and creative non-fiction are all offered as specialisms, while our pioneering module in genre fiction covers crime, horror, fantasy and science fiction with YA options in each.

We host an exciting programme of lectures and master classes from award-winning authors and high-profile industry experts. In addition, an internationally recognised author joins us for 12 months as Writer in Residence, to develop new work alongside students, share experience and offer one-to-one consultations.

Our approach to full-length narrative development trains you to deploy a range of unique and dynamic pre-writing techniques invented by our programme. This energetic combination of conceptual development and critical self-reflection will transform you into a technically adept, purposeful writer ready to make your mark.

The course is taught by industry professionals Sam Kelly, a former literary agent and David Bishop, a successful working writer and former editor. In addition to campus facilities, our students have access to the Writers’ Room, a private workspace with Wi-Fi, available evenings and weekends. It houses an exclusive library of 2,000 hand-picked books, DVDs and graphic novels and is the venue for reading groups and social events.

The MA is piloting a Teaching Internship Scheme, offering selected graduates the opportunity to develop their teaching practice with the course for a further year.

Modules

• Creating Narrative – Writer’s Toolkit
• Innovation and Authorship
• Creative and Editorial Development
• Writing Practice – First Person Narrative
• Writing Graphic Fiction
• Writing Genre Fiction
• Creative Non-Fiction
• Interactive Media
• Major Project

Study modules mentioned above are indicative only. Some changes may occur between now and the time that you study.

Careers

Among our graduates’ achievements are:

• book deals
• representation by literary agents
• international and national competition wins
• publication in magazines and anthologies
• Edinburgh International Book Festival appearances
• paid editing and writing commissions
• performances and teaching
• working for national literary organisations

How to apply

http://www.napier.ac.uk/study-with-us/postgraduate/how-to-apply

SAAS Funding

Nothing should get in the way of furthering your education. Student Awards Agency Scotland (SAAS) awards funding for postgraduate courses, and could provide the help you need to continue your studies. Find out more: http://www.napier.ac.uk/study-with-us/postgraduate/fees-and-funding/saas-funded-courses

Read less
Contemporary illustration practice has grown to encompass a broad range of ambitions and opportunities for image makers and storytellers. Read more
Contemporary illustration practice has grown to encompass a broad range of ambitions and opportunities for image makers and storytellers. The growth of online digital cultures - and the impact of digital image creation on traditional image making - requires flexible and adaptable practitioners, and it provides unique opportunities for the entrepreneurial illustrator.

Our course offers you the chance to challenge the boundaries of illustration, both in its practice and its context, and is primarily concerned with the illustrated narrative. It offers you a creative and intellectual environment in which you can rigorously pursue a project of self-directed study, and produce a body of work on a topic of your interest within the field of illustration.

Our course enjoys a long tradition of original narrative and storytelling through images, reflecting staff expertise and practice in these areas. As a student here you'll get to explore narrative storytelling, authorship, self-publishing, book production and visual narratives through the development of a personal project.

This MA course supports you to develop your own independent voice and to identify an audience. You're encouraged to take a self-directed entrepreneurial approach, developing and exploring creative opportunities and options for your work. This entrepreneurial emphasis will be supported by access to specialist facilities such as digital media suites, photography, printmaking and bookmaking.

Our course also provides you with the opportunity for extended critical debate, a high degree of critical reflection and integration of theoretical and practical concerns as part of the realisation of an ambitious body of work. It will also promote in-depth, rigorously conducted research, to ensure you're able to contextualise your own work in relation to the leading edge practice in illustration.

Visiting lecturers and practitioners inform and cultivate professional development, encouraging you to question and debate. Recent visiting lecturers have included Graham Rawle, Olivier Kugler, Nick White, Luke Best, Mathew Richardson and Posy Simmonds.

Industry Partners

Illustration at UCA has a long tradition of original narrative and storytelling through images, reflecting staff expertise and practice in these areas.

Students on MA Illustration also benefit from well-established industry connections.

Careers

Graduates from our MA Illustration course go on to establish careers in a diverse range of exciting areas, such as:
-Freelance illustration
-Self-publishing
-Artist practice
-Printmaking
-Curation
-Editing
-Animation
-Project management
-Education
-Design
-Digital imaging
-Web authoring
-Multi-media production

Read less
The UK has a world leading comedy pedigree, but no industry recognised comedy training course - until now. Read more
The UK has a world leading comedy pedigree, but no industry recognised comedy training course - until now. The new 18 month part-time NFTS Diploma in Writing and Producing Comedy will enable students to develop all forms of scripted and unscripted comedy including, sitcoms, sketch shows, and panel shows for radio and tv. The course is run in partnership with Channel 4.

Quick Facts

- 18 Month Course
- Part-time
- Course starts in January
- Next intake: January 2017
- UK and EEA applicants only

- The world's first Diploma course in Writing and Producing Comedy.
- Delivered in partnership with Channel 4
- Part-time, evening course
- Regular Industry speakers
- Develop and write an original show and make a taster tape.

APPLICATION DEADLINE: 08 SEP 2016

Visit the website https://nfts.co.uk/our-courses/diploma/writing-and-producing-comedy

COURSE OVERVIEW

This course commences in January each year. Students will be taught by NFTS writing and producing tutors supported by guest sessions from the people responsible for some of the UK’s most iconic UK shows including Peep Show, Father Ted, Have I Got News for You, Spitting Image, Horrible Histories and Green Wing.

The course advisory board includes:

Ash Atalla – The Office, Cuckoo, Trollied
Dawson Bros – The Peter Serafinowicz Show, That Mitchell & Webb Look, Big School
Sam Bain - Peep Show, Fresh Meat, Rev
Richard Boden – Blackadder, 'Allo 'Allo, IT Crowd
Gregor Cameron – Katy Brand’s Big Ass Show, Fighting Talk
Saurabh Kakkar – Head of Development – Comedy – Big Talk
Graham Linehan – Father Ted, IT Crowd, Count Arthur Strong
Arabella McGuigan – Smack the Pony, Brass Eye
Caroline Norris - Horrible Histories, The Armstrong & Miller Show, Dead Ringers
John O’Farrell – Spitting Image, Have I Got News For You, Novelist
Richard Preddy – Green Wing, Campus
Lucy Robinson - Co-Founder Little Comet Film & TV/Head of Comedy Brothers and Sisters
Helen Spencer -Salford Comedy Festival, Salford Sitcom Showcase, Jesting About
Lorna Watson & Ingrid Oliver – Watson & Oliver

The course is part-time (one evening a week and occasional Saturdays) over eighteen months and is delivered in central London. You will be expected to spend at least 8 hours a week working on assignments for the course. You will leave the course with a portfolio of material developed during the course, this could include a ten-minute taster tape of an idea you have developed, or a full script and some sketches and one-liners.

Specifically you will learn about:

- Comedy landscape
- Radio comedy
- Sketches
- Panel shows and formats
- Characterisation
- Story structure
- Narrative TV comedy
- Script editing
- Topical one-liners
- Outlines and treatments
- Pitching
- Commissioning processes
- Working with performers
- Compliance issues
- Working with writers
- Writing briefs

Students graduate able to:

- generate comedy programme ideas
- write or produce a narrative comedy, sketch show or comedy entertainment show
- pitch ideas to commissioning editors
- work with writers and help them develop their ideas

So you think you’re funny? Apply Now!

SCHOLARSHIPS AND BURSARIES

The NFTS want to encourage applications from the brightest and best talent out there….from all backgrounds. We are actively seeking to redress imbalances within the Industry by encouraging applications from under-represented groups, and have bursaries of £4650 on offer to 2 of the successful candidates. Bursaries will be awarded to stand out talent who can demonstrate that without this funding they would not be able to afford the course, or who can demonstrate they bring a unique and distinct perspective and voice to the course.

CURRICULUM

The course is made up of a number of modules and workshops, you learn by ‘doing’ as well as understanding theory and developing a variety of practical and creative skills.

Module 1: Writing and producing sketch shows
 A sketch needs a premise, a core funny idea that is its reason to exist. As soon as a sketch begins, the audience looks for this premise and it needs to be apparent. You will learn how this works by writing sketches for different shows and getting feedback on them from established sketch performers and producers. You will have your material read by experienced sketch performers, and the chance to have your material performed for an invited audience.

Module 2: Topical one-liners, formats and panel shows. Topical one-liners for Have I Got News for You, The News Quiz and other topical shows is often the entry point for writers. You will learn by a mixture of practice, theory and feedback, the basics of writing topical jokes. You will learn how to develop your own format or panel show idea.

Module 3: Radio Comedy 
Many comedy writers and producers have worked in both television and radio with many shows starting out on radio and moving to television. It is the entry point for many established comedy writers and producers. You will develop and test your skills by developing material for Radio 4 and pitch ideas to radio comedy producers.

Module 4: Writing/Producing an existing sitcom 
You will learn about writing for a situation and a bunch of characters that already exist, concentrating on pitching appropriate story ideas to the creators of those shows. You will also learn about script editing and how to give notes.

Module 5: Writing a TV narrative comedy 
You will develop an idea for a television narrative comedy (sitcom), pitch it, and write the first draft of a script.

Module 6: Graduation project 
Working on your own, or in a pair, you will develop a sitcom, comedy drama or sketch show for TV or radio. You will write one episode, and either shoot a taster tape or have some scenes performed by professional actors or produce a radio show.

NFTS BENEFITS

Comedy course participants will have full access to the NFTS’ optional creative stimulus strands, including: Passport to Cinema (weekly screenings of classic and pre-release films in the state-of-the-art campus cinema); and NFTS Masterclasses (major creative figures from film, television and games screening their work and discussing with students in the campus cinema. Recent speakers include Graham King (producer, Hugo, The Departed), Guy Ritchie (Director, Sherlock Holmes), Danny Boyle (Director, Slumdog Millionaire) and Ian Livingstone (former President and CEO, Eidos).

TUTORS

Many of the people on the course advisory board will also teach on the course. In addition the course is supported by Channel 4 commissioners and executives.

APPLY WITH

- Two TV or radio sketches of no more than 400 words each. One of these should be set on a polar landscape.
- An outline for a comedy series, no more than 600 words
- Two short proposed story outlines for an existing sitcom. Each of the 2 episode outlines should be no more than 200 words. The sitcom we want you to write for is Bluestone 42
Each of your 2 stories should have a beginning, middle and an end. Make sure you do your background research and ensure you understand how Bluestone 42 operates as a sitcom

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

- APPLY FOR WRITING AND PRODUCING COMEDY COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=656

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

Read less
The storyteller of the future is not just someone with ideas, but a person that is able to communicate concepts through a series of platforms, that can lead innovation and communicate effectively within an inter-disciplinary team. Read more
The storyteller of the future is not just someone with ideas, but a person that is able to communicate concepts through a series of platforms, that can lead innovation and communicate effectively within an inter-disciplinary team. Today’s designers, coders, journalists, documentary film makers, photographers, educators, broadcasters, radio producers and social campaigners need to have the appropriate digital media skills to “tell their stories” in an interactive way.

The Interactive Factual Narrative MA is designed to create a safe experimental environment where you will acquire the methodology you need in order to develop your interactive factual stories. As this is a new field, terminology is still confusing and you will have heard wording as varied as i-docs, web-docs, social apps, mobile news, immersive journalism, VR stories, factual digital experiences, serious games, stories for change, transmedia non-fiction and more.

We have conglomerated all these different terminologies into the larger family of interactive factual narratives, or “interfactuals” – stories that use digital interactive media to portray the world around us and who want to initiate change.

Course content

The Interactive Factual Narrative MA has a totally different approach from any masters degree course you might know of. It has been conceived as a multi-disciplinary lab that will be taught in burst mode - blocks of three full days every two to three weeks. This is to enable you to work alongside of your studies, while developing your dream personal project on the side. Perhaps you will use the course to research and develop your company’s special project, or as a way to stay creative and socially engaged while keeping your day-to-day job. Whatever your situation, the Interactive Factual Narrative MA offers you a creative space to engage with your passions.

Modules on this course are following the production schedule of an interactive project and adopt an iterative way of working. Testing and user experience is taken in consideration at each step of the creative process. It will feel as a safe playing ground where you will be encouraged to learn, fail, re-iterate and ultimately think outside of the box.

You will be asked to adopt a collaborative ethos and open your professional expertise to the benefit of your course peers. In doing so, you will feel part of a creative community that will support you when needed, and may serve you as a network even after the course has finished.

The modules will be very hands-on and will be lead by a mixture of professionals from the field and university staff. All modules will be compulsory – this is to allow the different groups to advance at a similar pace.

By the end of the year you will have expanded your ideas of what an interactive narrative can be, acquired a solid knowledge of the field, consolidated a multi-skilled network of people and developed a digital prototype of your group idea. By then your project should be ready to be presented to potential financers and media partners.

Modules

The following modules are indicative of what you will study on this course. For more details on course structure and modules, and how you will be taught and assessed, see the full course document.
-INTERACTIVE FACTUAL FUNDAMENTALS (IF FUNDAMENTALS)
-IDEATION: INTERACTIVE STORYTELLING AND PROTOTYPING
-BUILDING 1: PLATFORMS, DESIGN AND TECHNOLOGY
-BUILDING 2: THE BUSINESS OF INTERACTIVE STORYTELLING
-MAJOR PROJECT

Associated careers

The course is mainly geared at giving you the right support and methodology to develop your interactive project during the course. The critical awareness and the iterative methodology that you will gain will then serve you to remain competitive in the digital creative industries you might enter in the future, regardless of the technologies they use.

Read less
Humber’s Creative Writing – Comic Scriptwriting graduate certificate program prepares writers to enter the entertainment field with confidence. Read more
Humber’s Creative Writing – Comic Scriptwriting graduate certificate program prepares writers to enter the entertainment field with confidence. You will learn the essentials (story, structure, conflict and, most importantly, comic voice) and the business of getting in the door (pitching, dos and don’ts, how to handle rewrites and writing for producers). You will graduate with the satisfaction of knowing that your experience is truly a one-of-a-kind accomplishment.

Students work on a one-to-one basis with an award-winning, internationally acclaimed writer who critiques, supports and helps improve their writing. Program faculty have made millions laugh and have included Joe Flaherty (Second City Television (SCTV), Happy Gilmore, Freaks and Geeks) and David Flaherty (SCTV, Maniac Mansion).

Your experience will span 30 weeks. Correspondence is as close as your fingers are to your laptop. No classroom here – just you and your ideas. Our advisory committee provides regular review and input to our curriculum, ensuring our program is always on the cutting edge of industry developments.

Course detail

Upon successful completion of the program, a graduate will:

• Analyze personal and recognized works of fiction and creative non-fiction for form and structure and delineate story features such as conflict, crisis and resolution. Students should be able to differentiate between story and plot and compare various types of conflict used in story writing. Students will explore various methods of plotting a work of fiction such as working backward from the climax, working forward from the initial interaction or borrowing from tradition.

• Distinguish the qualities of short stories versus novels.

• Evaluate personal and recognized works of fiction for the inclusion of techniques used in creative writing for making narrative an emotional experience. These techniques include the use of significant detail, active voice, and strategies for establishing cadence, rhythm and prose. In addition, students will be expected to be masters of the mechanics of writing and demonstrate the correct use of spelling, punctuation and grammar.

• Assess personal and recognized works of fiction for characterization and the techniques used for establishing character credibility and complexity. Students will explore how character motivation is revealed and how characters are presented both directly and indirectly.

• Outline and compare personal and recognized methods for establishing setting and atmosphere in stories as well as techniques used for adjusting narrative time.

• Critique and manipulate the point of view in personal and recognized stories. In their development of point of view, students will develop strategies for deciding who is speaking in their stories and whom they are addressing. In addition, they will determine which techniques best convey the story and determine the best distance between the reader, author and characters. An analysis of point of view also includes the use of spatial and temporal distance and how to include unreliable speakers in the story.

• Evaluate the methods used for developing the theme in personal and recognized stories. They will explore how theme helps dictate the selection and organization of details, style, voice and other elements of the work.

• Evaluate personal and recognized works of fiction and creative non-fiction for unity of effect.

• Recognize and revise weak spots in their writing. They will explore common errors and the technical questions writers should ask themselves as they review and revise their work and apply them to an analysis of plot, characterization, style, setting, narration, dialogue, point of view, structure, clarity, length and originality.

• Conduct the required research to authenticate their story and make it come alive. They will be able to select and use a variety of research methods such as the internet, the library, interviews and site visits.

• Evaluate personal and recognized works of poetry for the poetic tools used to shape and focus ideas and feelings and to create texture and vividness in a poem. These techniques include: devise for rhythm; devices for sound; stanza and poem forms; and imagery and figures of speech.

• Develop a plan for marketing their creative writing and handling the business requirements of being a writer. This will include researching the needs and demands of the market, preparing query letters and/or book proposals, identifying suitable publishers for their work, finding and working with agents, negotiating a contract, submitting their work in suitable formats, setting fees where appropriate, and keeping appropriate records. In addition, they will explore some of the legal aspects of being a writer such as copyright and libel. Students will also develop an awareness of writing awards and competitions as well as writer support programs.

• Identify opportunities to publish freelance works of fiction and creative non-fiction to local, national and international magazines, newspapers, television, film, textbooks, and the Internet. This will include the analysis of the research and publication requirements of a variety of publishers, strategies for introducing ideas and personal works to various media and a thorough understanding of the features of freelance contracts. Students will prepare, review and submit works for freelance submissions.

• Evaluate the elements of successful professional writing careers and develop methods for promoting personal works and developing personal relationships with media contacts. This will include exploring ways to make public appearances and provide public readings of personal works. How to manage interviews and participate in a variety of media events will be examined. Public appearances and public speaking.

Modules

Semester 1
• WRIT 5001: Narrative Styles 1
• WRIT 5003: Character, Plot and Stylistic Development
• WRIT 5005: Editing for Publication 1
• WRIT 5007: Issues In Contemporary Writing
• WRIT 5009: Freelance Writing

Semester 2
• WRIT 5500: Narrative Styles 2
• WRIT 5501: Advance Character, Plot and Stylistic Development
• WRIT 5502: Editing for Publication 2
• WRIT 5503: The Business Of Writing
• WRIT 5504: The Writer and The Media

Your Career

Think you have a funny premise for a TV show? How about an idea that would make a great movie? If you’ve ever dreamt about writing a comedy, make it happen. And the beauty is, you can write comedy anywhere, any time your schedule allows.

How to apply

Click here to apply: http://humber.ca/admissions/how-apply.html

Funding

For information on funding, please use the following link: http://humber.ca/admissions/financial-aid.html

Read less
Humber’s Creative Writing – Fiction, Creative Non-Fiction, Poetry graduate certificate program is a distance studio program offering aspiring writers the exceptional opportunity to work at home. Read more
Humber’s Creative Writing – Fiction, Creative Non-Fiction, Poetry graduate certificate program is a distance studio program offering aspiring writers the exceptional opportunity to work at home. There are no formal classes on site. Individual courses are offered in a non-traditional way with a distinguished faculty member critiquing your work of creative non-fiction, fiction, book of short stories or volume of poetry. The program is intended for students working on book-length projects. The program is customized to address the particular needs of your manuscript and may include assessments of your handling of plot, story, character, dialogue, pace and style, or may focus on the particular needs of the manuscript as determined by the writing advisor. Graduates have the satisfaction of completing a large body of work which may include all or parts of a novel, volume of short stories or a book of poetry. Students are also referred to writing competitions.

Humber is noted for its exceptional faculty including authors of world stature. This faculty list has included Edward Albee, Martin Amis, Peter Carey, Miriam Toews, David Mitchell, Nino Ricci, David Adams Richards, the late Timothy Findley, Paul Quarrington, the late Carol Shields and Alistair MacLeod. Forthcoming international authors include Samantha Harvey and Tim O’Brien.

A virtual café exists through Blackboard, Humber’s online learning system, to encourage writing students to interact and build a sense of community.

Course detail

Upon successful completion of the program, a graduate will:

• Analyze personal and recognized works of fiction and creative non-fiction for form and structure and delineate story features such as conflict, crisis and resolution. Students should be able to differentiate between story and plot and compare various types of conflict used in story writing. Students will explore various methods of plotting a work of fiction such as working backward from the climax, working forward from the initial interaction or borrowing from tradition.

• Distinguish the qualities of short stories versus novels.

• Evaluate personal and recognized works of fiction for the inclusion of techniques used in creative writing for making narrative an emotional experience. These techniques include the use of significant detail, active voice, and strategies for establishing cadence, rhythm and prose. In addition, students will be expected to be masters of the mechanics of writing and demonstrate the correct use of spelling, punctuation and grammar.

• Assess personal and recognized works of fiction for characterization and the techniques used for establishing character credibility and complexity. Students will explore how character motivation is revealed and how characters are presented both directly and indirectly.
• Outline and compare personal and recognized methods for establishing setting and atmosphere in stories as well as techniques used for adjusting narrative time.

• Critique and manipulate the point of view in personal and recognized stories. In their development of point of view, students will develop strategies for deciding who is speaking in their stories and whom they are addressing. In addition, they will determine which techniques best convey the story and determine the best distance between the reader, author and characters. An analysis of point of view also includes the use of spatial and temporal distance and how to include unreliable speakers in the story.

• Evaluate the methods used for developing the theme in personal and recognized stories. They will explore how theme helps dictate the selection and organization of details, style, voice and other elements of the work.

• Evaluate personal and recognized works of fiction and creative non-fiction for unity of effect.

• Recognize and revise weak spots in their writing. They will explore common errors and the technical questions writers should ask themselves as they review and revise their work and apply them to an analysis of plot, characterization, style, setting, narration, dialogue, point of view, structure, clarity, length and originality.

• Conduct the required research to authenticate their story and make it come alive. They will be able to select and use a variety of research methods such as the internet, the library, interviews and site visits.

• Evaluate personal and recognized works of poetry for the poetic tools used to shape and focus ideas and feelings and to create texture and vividness in a poem. These techniques include: devise for rhythm; devices for sound; stanza and poem forms; and imagery and figures of speech.

• Develop a plan for marketing their creative writing and handling the business requirements of being a writer. This will include researching the needs and demands of the market, preparing query letters and/or book proposals, identifying suitable publishers for their work, finding and working with agents, negotiating a contract, submitting their work in suitable formats, setting fees where appropriate, and keeping appropriate records. In addition, they will explore some of the legal aspects of being a writer such as copyright and libel. Students will also develop an awareness of writing awards and competitions as well as writer support programs.

• Identify opportunities to publish freelance works of fiction and creative non-fiction to local, national and international magazines, newspapers, television, film, textbooks, and the Internet. This will include the analysis of the research and publication requirements of a variety of publishers, strategies for introducing ideas and personal works to various media and a thorough understanding of the features of freelance contracts. Students will prepare, review and submit works for freelance submissions.

• Evaluate the elements of successful professional writing careers and develop methods for promoting personal works and developing personal relationships with media contacts. This will include exploring ways to make public appearances and provide public readings of personal works. How to manage interviews and participate in a variety of media events will be examined. Public appearances and public speaking.

Modules

Semester 1
• WRIT 5001: Narrative Styles 1
• WRIT 5003: Character, Plot and Stylistic Development
• WRIT 5005: Editing for Publication 1
• WRIT 5007: Issues In Contemporary Writing
• WRIT 5009: Freelance Writing

Semester 2
• WRIT 5500: Narrative Styles 2
• WRIT 5501: Advance Character, Plot and Stylistic Development
• WRIT 5502: Editing for Publication 2
• WRIT 5503: The Business Of Writing
• WRIT 5504: The Writer and The Media

Your Career

Canadians still love a good read. They spend 14 percent of their leisure time reading, half of which is spent reading books. The main goal of the program is to improve your writing and publication is a possibility for some. Graduates of this program may use their writing and editing skills in a wide variety of careers and professions in addition to writing books. Some of our graduates write for newspapers, magazines, television and other media. More than 300 Humber School for Writers alumni have published books of fiction or poetry and Dr. Vincent Lam, who won the 2006 Scotiabank Giller Prize for his literary debut Bloodletting & Miraculous Cures, is just one of our distinguished former students. Other alumni have also been on the bestseller lists in Canada: Suzanne Desrochers for Bride of New France, Cathy Marie Buchanan for The Painted Girls and Eva Stachniak for Empress of the Night.

How to apply

Click here to apply: http://humber.ca/admissions/how-apply.html

Funding

For information on funding, please use the following link: http://humber.ca/admissions/financial-aid.html

Read less
Our taught MA provision offers choice, flexibility and the opportunity to specialise. You can learn from the rich variety of research expertise in the Department and you also have the chance to concentrate on a particular area of literary study. Read more
Our taught MA provision offers choice, flexibility and the opportunity to specialise. You can learn from the rich variety of research expertise in the Department and you also have the chance to concentrate on a particular area of literary study. Our commitment to research-led teaching means that students are able to explore the cutting edge of the discipline - from the Anglo-Saxon period to the present day, from medieval manuscripts to contemporary crime narrative. We provide an intimate, dynamic and supportive environment for students of all backgrounds and nationalities.

Our programmes offer up-to-date training in research methods and skills and a wide selection of literature modules from which you choose three; you will also write a dissertation. You will have the opportunity to follow up particular interests by studying a named pathway, or to designate your own area of study within the broad MA in English Literary Studies, tailoring an individual programme based on period, theme or genre. An MA in English is often the platform for further research at PhD level, as well as providing an excellent grounding for jobs in education, the arts and the media.

Course Structure

If you choose to take one of the named pathways, you will be expected to select two modules from those available within a pathway and to write your dissertation in an area related to your named pathway. You need not confine your choices to a named pathway, as on the broad MA in English Literary Studies you may choose any three from the full list of modules on offer if you prefer. Students may, with permission, take one module from other modules on offer elsewhere in the Faculty of Arts and Humanities. All students must take the core Research Methods and Resources module and the dissertation alongside their three optional modules.

Core Modules:
Research Methods and Resources
Dissertation

Typical optional Modules might include:
Old Norse
Warrior Poets in Heroic Societies
Old English Language and Literature
Narrative Transformations: Medieval Romance to Renaissance Epic
Middle English Manuscripts and Texts
Issues in Medieval and Renaissance Studies
Renaissance Tragedy
Renaissance Humanism
Lyric Poetry of the English Renaissance and Reformation
John Milton: Life, Works and Influence
Women and the Novel in the Eighteenth Century
Reflections on Revolution, 1789-1922
Second-Generation Romantic Poetry
Romantic Forms of Grief
Women in Victorian Poetry and Painting
Thinking with Things in Victorian Literature
Literary Masculinity at the Fin-de-Siècle
The Literatures of Slavery
Literature of the Supernatural
Modernism and Touch
Representing the Self: From Sophocles to the Sopranos
Life Narratives
Post-War British Drama
Modern Poetry
The Contemporary US Novel
Blood and Soil: Regionalism and Contemporary US Crime Narrative
The Writing of Poetry

Modules are subject to staff availability and normally no more than twenty of the above will run in any one year.

Learning and Teaching

One of the distinctive features of the Durham MA in Literary Studies is that it permits both a broad-based, eclectic study of literary topics from the earliest periods of literature to the present and the possibility of specialisation through designated pathways in such areas as Medieval and Renaissance Studies or Twentieth- and Twenty-First-Century Studies. All students take 3 optional modules, taught in small seminar groups of up to 10, with each module generating 18 hours of contact time (9 seminars x 2 hours) over the academic year. A strong emphasis is placed on independent research, and seminars usually involve a considerable amount of preparation, including short presentations and workshop activities. Assessment for these modules is usually by coursework essay.

All students also register for the Research Methods and Resources module, which generates an additional 20 hours of contact time over the academic year. Again, a strong emphasis is given to independent research. Both pieces of assessed written work for the Research Methods and Resources module involve significant preparation for the MA dissertation (and in some cases for doctoral study later on). The MA dissertation is supported by 3.5 hours of dedicated individual supervision time. Drafts of the dissertation are read and commented upon by the supervisor.

Each MA student is assigned an Academic Advisor who can guide and support her or his progress during the programme of study. Throughout the taught MA degree programme, all students are strongly encouraged to participate in a lively series of staff-postgraduate research seminars, usually involving invited guest speakers from the UK and beyond.

Other admission requirements

Please use the 'additional comments' section of the application form to provide a personal statement. In addition to your three module choices, you will also need to include a piece of written work of approximately 2,000 words in length on a literary subject. This can be any piece of literary-critical work you have completed recently and may be emailed direct to the Department if you wish (). We welcome applications from holders of international qualifications. For advice on the equivalency of international qualifications, please contact our International Office.

Read less
Explore the creative potential of your narrative constructions, observations of character and the aesthetics of dialogue within the tradition and potentiality of Screenwriting as designed for the next generation of industry writers. Read more
Explore the creative potential of your narrative constructions, observations of character and the aesthetics of dialogue within the tradition and potentiality of Screenwriting as designed for the next generation of industry writers.

•This course runs on a biennial basis and the next intake will be 2016
•Part-time programme that can be completed alongside full-time employment in two years
•The £38million Redmonds Building provides state-of-the-art facilities for the Liverpool Screen School
•Skillset Accredited status ensures an exceptional quality course
•Liverpool Screen School is part of the BBC North Developing Talent Scheme


LJMU’s Skillset Accredited MA Screenwriting programme is designed to prepare screenwriters for the exacting demands of the industry.

The UK film and television industry is enjoying sustained growth and increasing international influence, and the demand for screenwriters with a distinct voice and original vision has never been greater.

Liverpool has established itself as a centre for regional film and television production both in the commercial sector, and increasingly through independent production.

This is a highly participatory course for committed writers of all ages who show originality and talent and is taught by experienced tutors with strong industry connections.

The course emphasises the development of practical screenwriting skills and the production of a portfolio of work, developed to the highest professional standards. An understanding of professional practice, pitching and marketing screenplays, and the critical analysis of films and screen texts are further key elements in the programme.

The course is regularly visited by industry professionals which means you will have great networking opportunities plus the chance to engage directly with leading practitioners in the field.

Throughout the two year programme, you will be engaged in the production of varied and increasingly challenging projects, beginning with short film scripts and culminating in the development of feature-length screenplays. All screenplays are developed in small group workshops.

What you will study on this degree

Please see guidance below on core modules for further information on what you will study.


Discovering the Screen as a Writer

Introduces practice creative, formal, research and technical skills appropriate to Screenwriting at masters level, allowing you to gain an understanding of the difference between writing for different mediums

Ongoing Narrative

Introduces the concepts behind writing something that has an ongoing narrative in order to create a dynamic world for stories to occur in engaging, complex characters

Writing the Feature Film

You will complete your first feature film draft and further develop research abilities, in particular, how to broaden your writing craft in order to have dramatic stories with a high level of realism or detail

The Importance of Rewriting and How to Do It

You will develop the ability to reappraise your own work, to enrich you with screenwriting concepts in order to write an accomplished second draft

The Third Act

Continue your growth as a feature film writer, deepening your creative voice and making you a more ambitious writer

Further guidance on modules

The information listed in the section entitled 'What you will study' is an overview of the academic content of the programme that will take the form of either core or option modules. Modules are designated as core or option in accordance with professional body requirements and internal Academic Framework review, so may be subject to change. Students will be required to undertake modules that the University designates as core and will have a choice of designated option modules. Additionally, option modules may be offered subject to meeting minimum student numbers.

Academic Framework reviews are conducted by LJMU from time to time to ensure that academic standards continue to be maintained.

Please email if you require further guidance or clarification.

Read less
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices. Read more
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/composing-film-television

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Training in live and electro-acoustic music
- Students compose for wide variety of films
- Creative and technical skills developed
- Study in a collaborative, filmmaking environment
- Flexible curriculum adaptable to individual needs
- Individual music suites
- Professional standard post production facilities
- Recording sessions with live musicians Business, legal and professional skills taught
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images.

Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential.

The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry.

Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming.

TUTORS

Acting Head of Composing is the BAFTA-nominated composer (and NFTS graduate) John Keane, whose credits include Hornblower,Mansfield Park, Tara Road, Inspector George Gently, Hideous Kinky.

ALUMNI

Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre.

CURRICULUM

The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals.

In year two, students’ activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals.

YEAR ONE

A series of composing workshops combining practical exercises and seminars:

- Basic narrative techniques
- Midi, sampling and audio
- Combining music and sound
- Narrative with dialogue
- Non-fiction scoring
- Instrumentation and orchestration
- Composing to script
- Improvisation

Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians

Workshops with Sound Design and Editing students:

- Abstract Film Workshop
- Without Images - a sound-only project
- Animation exercises
- Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing drama rushes to learn the basics of scene structure

Productions

- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design
- First Year Film – the major 1st year fiction production collaborating with all other departments
- Investigative Documentary - the major first year documentary production
- Cross Spec - an introduction to film language and storytelling involving all departments

YEAR TWO

- Orchestration and recording with live musicians
- Improvisation
- Continued analysis of films
- 2nd year short fiction production, shot on a digital format
- Co-composing a feature film Graduation films in documentary, fiction and animation

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work.

Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film.

APPLY WITH

Application Criteria

On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD’s sent to the school.

On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers.

Read less

Show 10 15 30 per page


Share this page:

Cookie Policy    X