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MA Film Practice Welcome Guide - Overview
Your Welcome Guide

We're delighted to have you join us at Arts University Bournemouth, and hope that your time here will be rewarding, challenging, creative and enjoyable.

Welcome to the MA Film Practice course

This welcome pack is designed to give you an idea of what to expect during the first weeks of your course. Please take the time to read it carefully and take particular note of the pre-course preparation. We hope that you'll enjoy a happy and productive time with us, and we look forward to meeting you in February 2021.

A message from your Course Leader

I’m really pleased that you’ve chosen to study MA Film Practice and we’ll have the chance to learn and discover together.

MA Film Practice is a uniquely positioned specialist programme that offers students the opportunity to develop and realise their creative ambitions through practice-based research, in an inclusive, integrated and stimulating environment.

You'll soon begin the process of redefining, developing and realising your creative and critical ambitions through individual and collaborative projects. This practice-based research will evolve across the specialist programme of study.

The course asks you to be a reflective practitioner, to interrogate the nature, context and position of your work. We encourage you to read and view and partake, as widely as possible, engage with the world around you, be a critical being.

The film staff and students look forward to meeting you!

- Andrew Vallance, Course Leader

Before you join us

Before your arrival, please start to formulate a  Research Question:

  • consider what it is you really want to examine - in my experience the more you’re invested in your subject the more chance you have of producing a worthwhile and satisfying resolution. 
  • Think through your creative intentions - what you’d like to produce – be inventive and experimental, consider form and content, balance realistic aims with innovative ambitions.
  • Your ideas will undoubtedly alter with time, but this will give you a strong initial position.  

How to submit your pre-course project

Please bring in your Pre-course Project during the first week. This will be the basis of your Research question.

The Library here at AUB is extremely well resourced and includes all key texts that you will need. The Course Handbook will be given to students during Induction Week and this contains key and recommended texts.

For now, you can get started with some of the following:

  • Barrett, E; Bolt, B. (2010) Practice as Research: Approaches to Creative Arts Enquiry. London/I B Tauris & Co Ltd.
  • Bazin, A. (1967) What is Cinema? vol.1, Gary, H. (trans.), Berkeley/Los Angeles: University of California Press
  • Berger, J. (1972) Ways of Seeing, London: Penguin
  • Bourdieu, P. (1993) The Field of Cultural Production: Essays on Art and Literature, Cambridge: Polity Press
  • Boardwell, D. (1985) Narration in the Fiction Film, Madison, Wisconsin: University Wisconsin Press
  • Boardwell. D. (2006) The Way Hollywood Tells it: Story and Style in Modern movies, Berkeley, LA: University California Press
  • Branigan, E. (1992) Narrative comprehension and Film, New York: Routledge
  • Braudy, L. (2016) Film Theory and Criticism: Introductory Readings, (8th ed.), Oxford: Oxford University Press
  • Bresson R. (2017) Notes on cinematography, New York: New York Review Books
  • Buckland, W. (ed.) (2009) Puzzle Films: Complex Storytelling in Contemporary Cinema, Chichester: Wiley-Blackwell
  • Cavell, S. (1979) The World Viewed: Reflections on the Ontology of Film, enlarged ed., Cambridge, Massachusetts/London, U.K.: Harvard University Press
  • Chopra-Gant, M. (2008) Cinema and History: The Telling of Stories, London: Wallflower
  • Cook, P. (2005) Screening the Past: Memory and Nostalgia in Cinema, New York: Routledge
  • Cook, P. (2007) Cinema Book, (3rd ed.), London: BFI
  • Curtis, D. (2007) Artists’ Film and Video in Britain, London: BFI
  • Cousins, M. (2008) The story of film, London: Pavilion.
  • Deleuze, G. (1986) Cinema 1, Tomlinson, H. (trans.), London: Continuum
  • Deleuze, D. (1989) Cinema 2, Tomlinson, H. and Galeta, R. (trans.), London: Continuum
  • Hall, S. (ed.) (1997) Representation: Cultural Representations and Signifying Practices, London: Sage
  • Keathley. C. (2006) Cinephilia and history, or The Wind in the Trees, Bloomington, IN: Bloomington, In: Indiana University Press
  • Macdonald, K. & Cousins, M. (1996) Imagining reality: the Faber book of documentary, London: Faber and Faber.
  • Manovich, L. (2001) In the Language of New Media, Cambridge, Massachusetts: The MIT Press
  • McQuire, S. (1998) Visions of Modernity: Representation, Memory, Time and Space in the Age of Camera, London: Sage Publications
  • Mulvey, L. (2006) Death 24x a Second: Stillness and the Moving Image, London: Reaktion Books
  • Nelson, R. (2013). Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances, London: Palgrave Macmillan
  • Nichols, B. (ed.) (1985) Movies and Methods: An Anthology, vol. 2, Berkeley and Los Angeles: University of California
  • Nichols, B. (1991) Representing Reality: Issues and Concepts in Documentary, Bloomington/Indianapolis: Indiana University Press
  • Rees, A. L. (1999) A History of Experimental Film and Film, London: BFI
  • Rosenstone, R. A. (2006) History on Film/Film on History; History: Concepts, Theories and Practice Edinburgh: Pearson Education Limited
  • Rosenstone, R. A. (1995) Visions of the Past: The Challenge of Film to our Idea of History, Cambridge, Massachusetts/London, England: Harvard University Press
  • Schrader, P. (2018) Transcendental Style in Film: Ozu, Bresson, Dreyer, Berkeley, California: University of California Press
  • Sinha, A. and McSweeney, T. (ed.) Millennial Cinema: Memory in Global Film, London and New York: Wallflower
  • Tarkovsky, A. (1989) Sculpting in Time: Reflections on the Cinema, Austin: University of Texas Press
  • Turner, G. (2006) Film as Social Practice, (4th ed.), London: Routledge

Some suggested Film viewing:

  • Woman at War (Benedikt Erlingsson, 2018)
  • Shoplifters (Hirokazu Kore-eda, 2018)
  • Border (Ali Abbasi, 2018)
  • Dark Night (Tim Sutton, 2016)
  • Moonlight (Barry Jenkins, 2016)
  • Victoria (Sebastian Schipper, 2015)
  • Tangerine (Sean Baker, 2018)
  • The Tribe (Myroslav Slaboshpytskiy, 2014)
  • Under the Skin (Jonathan Glazer, 2013)
  • The Act of Killing (Joshua Oppenheimer, 2012)
  • A Separation (Asghar Farhadi, 2011)
  • Barbara (Christian Petzold, 2010)
  • White Material (Claire Denis, 2009)
  • Colossal Youth (Pedro Costa, 2006)
  • Ten (Abbas Kiarostami, 2002)
  • Russian Ark (Alexander Sokurov, 2002)
  • Amores Perros (Alejandro González Iñárritu, 2000)
  • La Commune (Peter Watkins, 2000)
  • Cyclo (Tran Anh Hung, 1995)
  • Chung King Express (Wong Kar-wai, 1994)
  • Damnation (Bela Tarr, 1988)
  • The Thin Blue Line (Errol Morris, 1988)
  • The Terrorizers (Edward Yang, 1986)
  • Handsworth Songs (John Akomfrah, 1986)
  • Close-Up (Abbas Kiarostami, 1980)
  • Stalker (Andrei Tarkovsky, 1979)
  • Light Reading (Lis Rhodes, 1978)
  • Killer of Sheep (Charles Burnett, 1978)
  • The Girl Chewing Gum (John Smith, 1976)
  • Grey Gardens (Albert and David Maysles, 1975)
  • Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
  • Don’t Look Now (Nicolas Roeg, 1973)
  • (nostalgia) (Hollis Frampton, 1971)
  • The Sorrow and the Pity (Marcel Ophüls, 1969)
  • Portrait of Jason (Shirley Clarke, 1967)
  • The Battle of Algiers (Gilo Pontecorvo, 1966)
  • The War Game (Pete Watkins, 1965)
  • Scorpio Rising (Kenneth Anger, 1964)
  • The House Is Black (Forough Farrokhzad, 1963)
  • I’Eclisse (Michelangelo Antonioni, 1962)
  • La Jette (Chris Marker, 1962)
  • Critique de la separation (Guy Debord, 1961)
  • Peeping Tom (Michael Powell, 1960)
  • Hiroshima Mon Amour (Alain Resnais, 1959)
  • Shadows (John Cassavetes, 1958
  • Touch of Evil (Orson Wells, 1958)
  • A Man Escaped (Robert Bresson,1956)
  • Night of the Hunter (Charles Lawton, 1955)
  • A Matter of Life and Death (Michael Powell & Emeric Pressburger, 1946) 
  • Land Without Bread (Luis Buñuel, 1933)
  • Apropos de Nice (Jean Vigo, 1930);
  • Man With a Movie Camera (Dziga Vertov, 1929)
  • Un Chien Andalou (Luis Bunuel and Salvador Dali, 1929)
  • Berlin: Symphony of a Metropolis (Walter Ruttmann, 1927)

If you read one thing before you arrive, we recommend...

Ways of Seeing

Berger, J. (1972)

What to bring on your first day

  • Notepad and pens/pencils
  • An open mind!

You may also require the following items during the course:

  • Notepad and pens/pencils
  • External hard drive for backing up work

You are encouraged to bring your own Laptop and Mobile device to AUB to support Online Learning, Collaboration and Communication whilst at University.

We provide access to a range of free software and discounts on Apple and Dell hardware. We recommend that you wait until you have set up your AUB IT account to access this free software and discounted hardware if you are planning on investing in a new computer.

Even if your course does not specifically use Adobe Creative Cloud we would recommend that you try to make sure your computer is able to run this software.

We recommend that you format any external hard-drives/USB sticks to work on both Apple and Windows.

The course uses both Apple and Windows computers.

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We're delighted to have you join us at Arts University Bournemouth
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Next Steps

Find out the useful dates and contact before you start here
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We are looking forward to welcoming you to MA Film Practice this year in just a few weeks!