Master of Fine Arts in Motion Picture Medium

Purpose

The Master of Arts in Fine Arts (MFA) stands to offer the mature learner an opportunity to develop and master the knowledge levels necessary to create high quality, engaged narratives that serve to entertain local audiences. Ensuring an appreciation and demand for local films, locally, will lead to the development of the much sought after film industry that South Africa so aspires for and needs.

South Africa does not have a Masters Degree in film production at the scale of feature film. The current demand and lack of supply for key conceptual feature length film-makers, performers, distributors, marketing, directing, producing, cinematography, editors, production designers, animators, graphic designers (film titling), sound designers, writers and exhibitors is a generally accepted fact. A Masters Degree is the minimum accepted requirement of formal film training in most countries worldwide.

No other institutions are offering this type of outcomes-based, collaborative, Masters Programme for feature length films, television and documentary series with a theoretical input linked directly to a specialized vocational outcome.

In addition to the above, the AFDA MFA will provide the South African Film Industry and other related statutory bodies with much needed research work and findings with regards to the development of local audience groups, production systems and strategies to grow the market and the viability of the South African film industry.

Rationale

In its commitment to be part of the creation and development of a local South African film industry, AFDA has been running a three-year undergraduate and one-year post-graduate programme for the last nine years. These programmes offer intensive training in film production with specialisations in each of the key creative components of production.

The expansion of the undergraduate and honours programmes to include a Master of Fine Arts is an effort to further this commitment to realise a film industry that represents authentic experiences and interpretation of South African narratives.

Candidates for the Master of Arts in Fine Arts need to demonstrate their craft skills through the submission of the following:

Directing

• An Honours Degree in a related field of study, within the humanities.
• A portfolio of work:

> A script accompanied by a mini-treatment.

> A selection of recorded works (installations, films, documentaries etc.).

• Industry experience/on set experience.

Producing (Broad because student may specialise in different areas)

• Students must have at least an honour in a degree relating to Production i.e. Marketing, Accounting, Entertainment Law, Business Management, Human Resources, etc.
• If there's no degree, at least 10 Years Industry experience in Production.
• Students must be completely computer literate and show a very clear understanding of Microsoft Office especially EXCEL.
• Must show a clear understanding of all the legal documentation and procedures.

A portfolio consisting of two treatments, for any film or something similar that they have produced.

The Producing Discipline looks for five qualities in prospective students

• 61485; Have they demonstrated a commitment to a career in producing?
• 61485; Have they demonstrated the level of creativity the program requires?
• 61485; Do they have the confidence necessary to be a producer?
• 61485; Have they demonstrated the planning and organizational skills in order to be able to operate successfully as a Producer?
• 61485; Have they demonstrated the ability to generate their own goals and find the means to achieve them?

Cine

• Minimum of honours degree or 10 years relevant industry experience.
• Proof of technical competence on 16mm and 35mm film cameras.
• Industry recognized loaders certificate.
• Show reel of professional work; at least 2 shorts or adds that have been flighted on national television.
• Ability to work under pressure; calm cool and collected.
• Management skills; personnel.
• Organizational skills; production planning.
• Excellent communication skills.
• Dedicated passion; technical skills (mechanical and scientific).
• Technical drawing skills.

Edit

• AFDA Honours.
• Honours from other institution offering video/film outcomes based on submission of CV and show reel.
• 3 years industry experience as an editor (not assistant editor).
• Honours from academic institution + 1 year experience as editor (not assistant editor).

Have to be completely comfortable on FCP and/or Avid express/DV express.

Sound

• Proven understanding of narrative.
• 10 Years experience with recording equipment (not necessarily on set but including an understanding of microphones and their capabilities, recording devices and ancillary recording equipment).
• Previous experience on a sound editing program. This experience could be in the field of film or music.
• Mixing experience. This could be in the field of film or music and should include experience with and understanding of the major tools used by a mix engineer. (i.e. use of equalization, compression, panning, reverb and effects).
• Show reel material: This could be in the form of film or music work and should include at least one item of sound to picture (possibly music to picture, not necessarily sound design to picture).

Production Design

• An Honours Degree in a related field of study.

> Be that Art, Design, Architecture, Interior Design etc.

- A portfolio of work

> Be that work art, design, photography, etc. Anything to show how visual a person he/she may be.

> This work should be accompanied by a rationale, to assess conceptualization.

• At least 10 years industry experience/on set experience in the Art Department.

Animation

• Recognized four year degree in relevant studies [animation/motion graphic/broadcast design/game design].
• Portfolio: Show reel.
• Script writing.
• Research methods techniques.
• Advance computer skills.
• Advance craft skills [drawing, sculpture, painting, etc].
• Advanced technical skills in animation.
• Academic writing skills.

VFX

• Practical Courses in AFX, PS, MAYA/3d STUDIO MAX.
• Honours Degree in a related field of study.

> Graphic Design.

> Art.

> Animation.

> Visual Effects.

Multicam

• An Honours Degree in film or related.
• Should a candidate have an Honours Degree in other subject, at least 3 years of experience in the industry would be a prerequisite (one can substantiate it with a show reel, or scripts).
• In order to qualify, candidates would submit a script (with research) for a 13-part multicamera television series (sitcom, drama or soapie) with one full script (eps 1), story outline for the remaining 12 eps and the full character bible.

In addition Candidates with no academic History would have to have had 10 years Industry experience in the discipline they wish to enter.

Recognition of Prior Learning (RPL)

The Qualification can only be achieved in part through evidence of experience in feature film production. However the research aspect of the Degree cannot be achieved trough Recognition of Prior Learning.

Access to the Qualification

• An Honours Degree from a university programme or equivalent.
• Certified Recognition of Prior Learning, with experience in the field of film or television production.
• Submission of a portfolio of related work.
• Written proposal and motivation for area of study.
• The candidate is to select any of 3 core disciplines, in order of preference for their area of specialisation.
• An interview with the selection committee, comprising of the CEO, the Principal, the MFA Convener and respective Core discipline Champions, who reserve the right to determine the area of specialisation in consultation with the candidate.

MFA Program; Notional; Percentage Learning

Year 1: Learning Activities; Credits; Hours; Time

• Lectures; 45 Credits; 450; 50.00%.
• Narrative; 9 Credits; 90.
• Performance; 9 Credits; 90.
• Medium; 9 Credits; 90.
• Aesthetics; 9 Credits; 90.
• Control; 9 Credits; 90.
• Tutorials; 10 Credits; 100; 11.11%.
• Practical Academic Sessions; 0 Credits; 0; 0.00%.
• Practical Workplace: Module 1; 0 Credits; 0; 0.00%.
• Practical Workplace: Module 2; 0 Credits; 0.
• Independent: Literature; 15 Credits; 150; 16.67%.
• Independent: Media: 10 Credits; 100; 11.11%.
• Peer Interaction: 10 Credits; 100; 11.11%.

Total Credits/Notional Hours: 90; 900; 100.00%.

Year 1: Fundamentals and Core

Fundamentals/Lectures: Year 1; Notional

Credits; Hours

• Narrative; 9 Credits; 90.
• Performance; 9 Credits; 90.
• Medium; 9 Credits; 90.
• Aesthetics; 9 Credits; 90.
• Control; 9 Credits; 90.

Total: Fundamentals/Lecture: 45 Credits; 450.

Core/Disciplines: Year 1: Notional.

Credits; Hours

• Tutorials; 10 Credits; 100.
• Practical Academic Sessions; 0 Credits; 0.
• Practical Workplace; 0 Credits; 0.
• Independent: Literature; 15 Credits; 150.
• Independent: Media; 10 Credits; 100.
• Peer Interaction; 10 Credits; 100.

Total: Core/Disciple; 45; 450.

Year 2: Learning Activities; Notional; Percentage Learning

Credits; Hours; Time.

• Lectures; 0 Credits; 0; 0.00%.
• Narrative; 0 Credits; 0.
• Performance; 0 Credits; 0.
• Medium; 0 Credits; 0.
• Aesthetics; 0 Credits; 0.
• Control; 0 Credits; 0.
• Tutorials; 6 Credits; 606.67%; Control and Production Design Marketing.
• Practical Academic Sessions; 8 Credits; 80; 8.89%; VALA Panel, Reviews: Cuts and Sound.
• Practical Workplace: Module 1; 36 Credits; 360; 40.00%; Principle Photography.
• Practical Workplace: Module 2; 24 Credits; 240; 26.67%; Post-Production.
• Independent: Literature and Media; 12 Credits; 120; 13.33%.
• Independent Prep VALA: 80 Credits.
• Wrap-up Dissertation; 40 Credits.
• Peer Interaction; 4 Credits; 40; 4.44%; Production Meetings for VALA.

Total Credits/Notional Hours: 90 Credits; 900 notional.

Year 2: Fundamental and Core

Fundamentals/Lectures: Year 2

• Narrative; 0.6; 6.
• Performance; 0.6; 6.
• Medium; 0.6; 6.
• Aesthetics; 0.6; 6.
• Control; 0.6; 6.

Total: Fundamentals/Lectures; 3; 30; Fundamental Input by VALA Panel.

Core/Disciples: Year 2

• Tutorials; 6; 60; Control and Production Design Marketing.
• Practical Academic Sessions; 5; 50; Reviews: Cuts and Sound.
• Practical Workplace; 60; 600; Principle Photo and Post-Production.
• Independent: Literature and Media; 12; 120; Independent Prep VALA: 80.
• Wrap-up Dissertation: 40.
• Peer Interaction; 4; 40; Production Meetings for VALA.

Total: Core/Disciple: 87; 870.

Whole Course: Year 1 and 2 combined.

Summary: Learning activities; Notional and Learning.

Credits; Hours; Time

• Lectures; 45 Credits; 450; 25.00%.
• Narrative; 9 Credits; 90.
• Performance; 9 Credits; 90.
• Medium; 9 Credits; 90.
• Aesthetics; 9 Credits; 90.
• Control; 9 Credits; 90.
• Tutorials; 16 Credits; 160; 8.89%.
• Practical Academic Sessions; 8 Credits; 80; 4.44%.
• Practical Workplace: Module 1; 36 Credits; 360; 20.00%.
• Practical Workplace: Module 2; 24 Credits; 240; 13.33%.
• Independent: Literature; 27 Credits; 270; 15.00%.
• Independent: Media; 10 Credits; 100; 5.56%.
• Peer Interaction; 14 Credits; 140; 7.78%.

Total Credits/Notional Hours: 180; 1800; 100.00%.

Summary: Fundamental/Core

Fundamentals/Lectures: Year 1: Notional

Credits; Hours

• Narrative; 9.6 Credits; 96 Hours.
• Performance; 9.6 Credits; 96 Hours.
• Medium; 9.6 Credits; 96 Hours.
• Aesthetics; 9.6 Credits; 96 Hours.
• Control; 9.6 Credits; 96 Hours.

Total: Fundamentals/Lectures: 48 Credits; 480 Hours.

Core/Disciples: Year 1: Notional

Credits; Hours

• Tutorials; 16 Credits; 160.
• Practical Academic Sessions; 5 Credits; 50.
• Practical Workplace; 60 Credits; 600.
• Independent: Literature and Media; 37 Credits; 370.
• Peer Interaction; 14 Credits; 140.

Total: Core/Disciple; 132 Credits; 1320.

Total Fundamentals and Core: 180 Credits; 1800.

Credits for fundamental, core and elective contents (There are no elective components in this programme).

Credits; NQF Level 8.

Fundamental: 45 Credits.

Core: 135 Credits.

Total : 180 Credits.

The MFA programme in Film Production will be a two year part-time course. After two years of study the outcome entails a written component in the form of:

• A comprehensive thesis (20 000 to 30 000 words) in a core discipline based on a feature length film, television or documentary series, to be completed by each learner. The thesis consists of three major components, namely: (1) Fundamental research work (2) the Core discipline research analysis and preparation for the production phase and (3) a retrospective analysis and conclusion of the completed production, to serve as research resources for the industry and other stakeholders.

Fundamental research work

• The learner must demonstrate a critical understanding of narrative decoding and encoding for originating a screenplay, television series or a documentary series. This will be achieved through a comparative analysis of histories and variations as inferred in three similar texts and in secondary literature and media. These texts will be critically analysed according to the five subjects that comprise Fundamental learning.

Core discipline preparation

The learner must demonstrate the ability to

• Originate a conceptually and emotionally relevant narrative (conceptual modelling).
• Assign visual and audio form to the conceptual model through the mechanism of structured textual analysis (perceptual modelling).

Retrospective analysis

The learner must demonstrate the ability to

• Critically analyse their contribution to the production outcome through a comparative analysis with components 1 and 2 of their thesis.
• Document audience responses, attendance numbers and audience categories and their relationship to the target market for whom the narrative text was designed.
• Collate and assess feedback from broadcasters and other exhibitors with regards to the above mentioned. Through this process the learner will formulate a methodology to assess the effectiveness of the production, and how it can be improved in order to meet the needs of the target market, its accessibility and its ultimate viability as a model to develop of the South African feature film industry.

And a professional/practical component

• One feature length film, television or documentary series per production group. Learners completing an MFA in animation will be required to complete an animated series, an equivalency of a feature film. This practical outcome illustrates the learner's ability to concretise the perceptual model for audio-visual recording, to manipulate its form, and to manage the distribution and exhibition of the final product.

These outcomes can be broken down more specifically with regards to each core discipline

Core discipline Outcomes

• Screenwriting.
• Completed feature length script (first draft plus subsequent revisions).
• Script thesis which offers a detailed analysis of the relevant concepts in the film and its relevance to a particular audience; an analysis of how narrative design intersects with other core disciplines in the creation of cinematic narrative, and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.

Directing

• Detailed director's thesis of feature length film with a detailed analysis of the five allied subjects that the director facilitates, an analysis of how narrative design intersects with other core disciplines in the creation of cinematic narrative, and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Directing a professional outcome.

Producing

• Detailed producer's thesis of a feature length film with detailed analysis of the five allied subjects that the producer initiates and facilitates, an analysis of how narrative design intersects with other core disciplines in the creation of cinematic narrative, and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Producing a professional outcome.

Cinematography

• Detailed thesis written by the cinematographer about the visual world of the narrative (lighting and camera aesthetic) of the feature length film in production. The thesis offers detailed interpretation of the script and the narrative in the five allied areas of cinematography and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Producing a professional outcome.
• (5) Sound Recording and Sound Design.
• Detailed thesis written by the sound recorder/designer about the audio and musical world of the narrative of the feature length film in production. The thesis offers detailed interpretation of the script and the narrative in the allied areas of sound design and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Location recording and sound design on a professional outcome.
• (6) Production Design.
• Detailed thesis written by the production designer about the visual world of the narrative (the aesthetic) of the feature length film in production. The thesis offers detailed interpretation of the script and the narrative in the allied areas of production design and includes wardrobe, makeup, set design and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Design of a feature length film as the professional outcome.
• (7) Editing.
• Detailed thesis written by the editor of feature length film with an in depth analysis of the allied subjects that the editor facilitates, and research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• Editing a professional outcome.
• (8) Animation/Special Effects.
• Detailed thesis of the handling of special effects in a feature length film, with an analysis of safety issues and precautions. The thesis should also include stunt layout if applicable to the film, as well as research findings on the core discipline's contribution to the creation of a viable South African feature film industry.
• In the case of the animated series the role of the animator is not purely to offer skills in illustration but he/she must also deal with either Claymation, pixilation or live-action animation. The thesis will be a combination of a director's thesis of story for an animated series and the necessary character development to realise the animated series to produce a professional outcome.

Pre-production assessments of (1) narrative origination and analysis, and (2) motion picture market research and audience development.

Conceptual and perceptual modelling is assessed through thesis work during the pre-production phase. It culminates in pre-production presentations assessed by the VALA panel.

AFDA's academic quality assurance mechanisms are embodied in the VALA-panel (Value-added learning audit). The VALA-panel ensures that the learning inputs for conceptual and emotional relevance in fundamental learning translate into viable and culturally relevant outputs (i.e. marketable motion pictures that reflect South African culture and therefore have audience appeal to local markets).

The VALA-panel consists of a combination of internal, inter-campus and external assessors that represent the five categories of a motion picture production and its market. These are: Narrative (the story), Performance (the enactment of the story), Medium (the translation of the enacted story into motion pictures), Aesthetics (the visual space of the story) and Control (the management of financial and human resources to realise the successful production in order to meet the entertainment need of the target market).

VALA draws from various spheres of academic expertise to assess the learner's ability to conduct research on the development of a motion picture as well as its place in the market, and his/her contribution to the production of a feature film. These include: the Arts, Law Commerce and Science. Industry specialists will also contribute to the process of auditing the outputs of learners. Any given assessment panel will include two resident academics, one inter-campus academic and two external assessors, drawn from other universities or the industry.

Post-production assessments on cinematic narrative manipulation, refinement and amplification.

The production is the demonstration of concrete modelling learning, as well as the practical outcome of the programme, and as such the manifestation of the conceptual and perceptual modelling phase. This is assessed in the following ways:

• Audience response assessments by a standard test audience.
• VALA assessment for concrete modelling learning.
• Acceptance into film festivals.
• The retrospective analysis by learners that constitutes Component 3 of their thesis. This research will establish a viable methodology and framework for the development of the South African feature film market.

Weighting of assessments

• The pre-production assessment of conceptual and perceptual learning, as presented in thesis work and in final pre-production presentations, constitutes 50% of a learner's mark.

The post-production assessment of the delivery of an entertainment product that meets the needs of the target market (the concrete model) constitutes the other 50%.