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ZIMBABWE
MINISTRY OF PRIMARY AND SECONDARY EDUCATION
FILM SYLLABUS
FORMS 5 - 6
2015 - 2022
Curriculum Development and Technical ServicesP. O. Box MP 133Mount Pleasant
Harare
© All Rrights Reserved2015
i
ACKNOWLEDGEMENTS
The Ministry of Primary and Secondary Education would like to acknowledge the following:
• The National Film Production Syllabus Panel• Zimbabwe School Examinations Council (ZIMSEC)• Zimbabwe Film and Television School of Southern Africa (ZIFTESSA)• Creaters Media• Umkhathi Productions• Independent Filmmakers• Communication for Development ( Zimbabwe Chapter)• University representatives • UnitedNationsEducationalScientificandCulturalOrganisation(UNESCO)• United Nations Children’s Fund (UNICEF)
Film Syllabus Forms 5 - 6
Film Syllabus Forms 5 - 6
ii
CONTENTSACKNOWLEDGEMENTS ......................................................................................................................... i
CONTENTS ............................................................................................................................................... ii
1.0 PREAMBLE ........................................................................................................................................ 1
2.0 PRESENTATION OF SYLLABUS ...................................................................................................... 1
3.0 AIMS .................................................................................................................................................... 1
4.0 SYLLABUS OBJECTIVES ................................................................................................................. 2
5.0 METHODOLOGY AND TIME ALLOCATION ...................................................................................... 2
6.0 TOPICS ............................................................................................................................................... 2
7.0 SCOPE AND SEQUENCE .................................................................................................................. 3
8.0 FORM 5 SYLLABUS ........................................................................................................................... 8
COMPETENCY MATRIX ........................................................................................................................... 8
FORM 6 ..................................................................................................................................................... 22
9.0 ASSESSMENT .................................................................................................................................... 32
1
1.0 PREAMBLE
1.1 INTRODUCTION
Thefilmproductionsyllabusforforms5to6isdesignedto equip learners with the opportunity to express them-selves through motion pictures. This syllabus promotes the preservation of Zimbabwean and African culture and open doors to the wider community by making Film Production accessible to everyone. It fosters conceptu-alisation, creativity, imagination, innovation and critical thinking. The syllabus develops artistic and technical skills and provides form and meaning to ideas, thoughts and feelings of learners by widening cultural horizons, cherishing diversity, celebrating differences while encour-aging enterprising skills.
1.2 RATIONALE
The knowledge and practice of Film Production is fun-damental to the holistic development of learners. It is one of the most effective forms of communication which contributes to economic, religious, political, social and cultural development of the learner and society at large. Film Production education provides an opportunity for learners to explore and express their feelings, stimulate creative imagination and develop competencies essen-tial for nation building, employment creation, enterprise, problem solving, critical thinking, design and self-disci-pline. Acquiring the tools and knowledge to conceive and createfilmsisessentialtodevelopinglifelongskillsthatinculcate individual historical and cultural identity, values and attitudes. Film production embraces inclusivity as learners are encouraged to appreciate their uniqueness andthatoftheirfilmproducts.
1.3 SUMMARY OF CONTENT Thecontentoffilmproductionsyllabusisdesignedtoin-troduce the learners to the process and tools associated withfilmmakinginZimbabwean,AfricanandWorldso-cieties. Film production involves producing, screen play writing, directing, cinematography, art direction, sound and editing. This enables the learner to be exposed to three production stages: pre-production, production and post-production.
1.4 ASSUMPTIONS
The syllabus assumes that learners have gone through infant and junior education and have practical abilities to:
• observeandrecordvisualelementsusingacap-turing device
• conceptualiseandcommunicateartisticideas• explorethefoundationalelementsandprinciples
offilm• applyprinciplesofphotography• manipulateavailableresourcesintheenvironment• solvepracticalspatialproblems• appreciateaestheticvaluesinartworks• appreciatehistoryofFilminZimbabwe• appreciatefilmroles
1.5 CROSS CUTTING THEMES
The Film Production learning area will encompass the following cross cutting themes:
• Children’srights• Disasterriskmanagement• Financialliteracy• Sexuality,HIVandAIDS• Childprotection• Heritagestudies• HumanRights• Gender• Collaboration• Environmentalissues• EnterpriseSkill• ICTs• Intellectualpropertyrights/ownership
2.0 PRESENTATION OF SYLLABUS
The syllabus is presented as a single document catering for Form 5 – 6 Secondary Level.
3.0 AIMS
The syllabus aims to enable learners to:
3.1 develop understanding and appreciation of the historyofZimbabweanfilmandculturaldynamics
3.2 develop a range of competencies, knowledge and understanding in pre-production, production and post-production
3.3 foster historical, cultural, aesthetic, creative, interpretative, and analytical aspects of audio-vi-sual story telling.
3.4 cultivate capacity to set up and run a business in thefilmindustry.
Film Syllabus Forms 5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
2
3.5 cultivateacultureofputtingZimbabweanfilmson the global map
3.6 provide opportunities for learners to be aware thatfilmisaprocess,productandaformofem-ployment
3.7 developanimationfilmskills
4.0 SYLLABUS OBJECTIVESBy the end of the course, learners should be able to:
4.1 chronicletheHistoryofZimbabweanfilmsfrom pre-independence, post-independence and current
4.2 appreciate the value of art as a historical, socio-economic,politicalandculturalreflec-tion of indigenous identity nation building and national pride
4.3 mark mile-stones in the development of Zimbabweanfilm 4.4 promote the use of indigenous languages in
localfilms4.5developcompetenciesinfilmtechnology4.6 developtheskillstocreatefilmsusingavail-
able resources 4.7 demonstrate an ability to work independently
andcollaborativelyinresearchandfilm production;4.8 acquiremanagementskillsinfilmenterprise;4.9 usefilmvocabularytoevaluateworksoffilm 4.10 develop competencies and creative skills in
problem solving, critical thinking, communica-tion and time management that contribute to lifelong learning through Film
4.11 appreciate the aesthetic and therapeutic value of Film
4.12 appreciate the relationship between Film and otherfieldsofknowledge
5.0 METHODOLOGY AND TIME ALLOCATIONIn this syllabus, some of the Learner centered and multi-sensory methods and approaches that can be used to learn Film Production at Form 5 – 6 Secondary Level are suggested below. Principles of individualization, con-creteness,unificationandstimulationshouldenhanceimplementation of these methods.
5.1 METHODOLOGY
• Research• Discussions• Conceptualbrainstorming• Presentations• Rehearsals• Attachments• Groupwork• Demonstration• observation• Fieldwork• Casestudy• Research• Survey• ExhibitionsandGalleryvisits• Educationaltours• Critiquesessions• Peerlearning• Experimentation• Integratedlearning• Resourcemethod• Problemsolving• InteractiveWorkshops
5.2 TIME ALLOCATION
In order to cover the content adequately Form 5 to 6 Film Production should be allocated 8 forty minute lessons per week distributed as follows: - double lessons for theory per week - block lessons per week practical-learnersfilmFestivalateachschoolper
year,districtfilmfestival,provisionalfilmfestivalandawards
N.B It must be noted that this learning area requires schools to set aside time for production processes and festivals,
6.0 TOPICSThe syllabus topics are as follows:
5.1HistoryofZimbabweanFilmandCulturalDynamics
5.2 Script writing 5.3 Producing 5.4 Directing 5.5 Production design 5.6 Cinematography 5.7 Sound 5.8 Editing 5.9 Animation
Film Syllabus Forms 5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
3
7.0
SC
OPE
AN
D S
EQU
ENC
E
7.1
TO
PIC
: 1 H
ISTO
RY O
F ZI
MB
AB
WEA
N F
ILM
PR
OD
UC
TIO
N A
ND
CU
LTU
RA
L D
YNA
MIC
S
TOPI
C: 2
SC
RIP
T W
RIT
ING
7 7.
1
TO
PIC
: 1
HIS
TOR
Y O
F ZI
MB
ABW
EAN
FIL
M P
RO
DU
CTI
ON
AN
D C
ULT
UR
AL D
YNAM
ICS
FO
RM 5
FO
RM 6
•
Historyoffilm
makinginZimbabw
e •
Historyoffilm
makinginAfrica
•
Historyoffilm
makingintheworld
-
Hollywood
- Bo
llyw
ood
- N
olly
woo
d
8
TO
PIC
: 2
SCR
IPT
WR
ITIN
G
FO
RM 5
FO
RM 6
•
Intro
duct
ion
to n
arra
tive
•
Nar
rativ
e st
ruct
ures
and
gen
res
• C
once
pts
crea
tion
and
deve
lopm
ent
•
The
art o
f sto
ryte
lling
• Se
tting
, cha
ract
ers
and
stor
ylin
e de
velo
pmen
t •
Step
out
line
•
Sequ
ence
s an
d sc
enes
• Sc
ript d
evel
opm
ent
- Ap
proa
ches
to s
crip
t writ
ing
and
adap
tatio
ns
- Sc
ript f
orm
attin
g an
d So
ftwar
e
- Tr
eatm
ent w
ritin
g
- Sc
reen
pla
y an
d di
alog
ue w
ritin
g -
Scre
en p
lay
criti
quin
g
- Pi
tchi
ng
• C
opyr
ight
and
Inte
llect
ual p
rope
rty ri
ghts
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
4
TOPI
C: 3
PR
OD
UC
ING
TOPI
C: 4
D
IREC
TIN
G
10
TOPI
C: 4
D
IREC
TIN
G
FO
RM 5
FO
RM 6
•
Intro
duct
ion
to fi
lm d
irect
ing
• D
irect
ing
perfo
rman
ce
• Sc
ript i
nter
pret
atio
n an
d tra
nsla
tion
• Te
chni
cal d
irect
ing
• C
astin
g ac
tors
(aud
ition
ing)
•
Con
duct
ing
rehe
arsa
ls
• D
irect
ing
fund
amen
tals
•
Dire
ctin
g in
pos
t-pro
duct
ion
• Pr
inci
ples
of f
ilm d
irect
ing
• D
irect
ing
perfo
rman
ce
• Te
chni
cal d
irect
ing
• C
ondu
ctin
g re
hear
sals
•
Dire
ctin
g fu
ndam
enta
ls
• D
irect
ing
in p
ost-p
rodu
ctio
n
9
TOPI
C: 3
PR
OD
UC
ING
FORM
5
FORM
6
• Sc
ript i
dent
ifica
tion
and
rese
arch
•
Cas
ting
and
crew
ing
up
• Bu
dget
ing
•
Sche
dulin
g •
Prod
uctio
n m
anag
emen
t •
Ente
rpris
e
• Fi
lm F
inan
cing
•
Mar
ketin
g an
d di
strib
utio
n •
Proj
ect p
ortfo
lio
• M
arke
ting
(Pitc
hing
)
Film
Syl
labu
s Fo
rms
5 - 6
4
5
TOPI
C: 5
PR
OD
UC
TIO
N D
ESIG
N
TOPI
C: 6
C
INEM
ATO
GR
APH
Y
11
T
OPI
C: 5
PR
OD
UC
TIO
N D
ESIG
N
FO
RM 5
FO
RM 6
•
Art d
esig
n •
Afric
an a
esth
etic
s an
d sy
mbo
lism
•
Scrip
t bre
akdo
wn
• Hairstyling
•
Set d
esig
ning
•
Prop
man
agem
ent
• Pr
inci
ples
of c
olou
r •
Mea
ning
of c
olou
rs
and
text
iles
• C
olou
r pal
lets
•
War
drob
e de
sign
•
Mak
e up
12
TOPI
C: 6
C
INEM
ATO
GR
APH
Y
FO
RM 5
FO
RM 6
•
Phot
ogra
phy
• Vi
deo
cam
eras
and
tech
nolo
gy
• Pr
inci
ples
of p
hoto
grap
hy
• Pr
inci
ples
of v
ideo
ligh
ting
• Ty
pes
of v
ideo
form
ats
• Videocamerastechnologyanddevelopment
• Pr
inci
ples
of c
inem
atog
raph
y
• Videocameratechniques
•
Shot
com
posi
tion
and
fram
ing
• C
amer
a an
gles
and
mea
ning
•
Ligh
ting
a sc
ene
• R
ecor
ding
a s
cene
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
6
TOPI
C: 7
SO
UN
D
TOPI
C: 8
ED
ITIN
G
13
TOPI
C: 7
S
OU
ND
FO
RM 5
FO
RM 6
•
Soun
d in
film
•
Film
sou
nd te
chno
logy
and
dev
elop
men
t •
Soun
d ou
tput
form
ats
• Pr
inci
ples
of s
ound
reco
rdin
g
• Pr
inci
ples
of c
reat
ing
soun
d ef
fect
s •
Fole
y so
unds
•
Rol
e of
mus
ic in
film
•
Soun
d ed
iting
sof
twar
e
14
TO
PIC
: 8
EDIT
ING
FORM
5
FORM
6
• In
trodu
ctio
n to
edi
ting
• Ed
iting
tech
nolo
gy a
nd s
oftw
are
deve
lopm
ents
•
Prin
cipl
es o
f film
edi
ting
• Videooutputform
ats
• M
etho
ds o
f edi
ting
• Videoandsoundediting
•
Foot
age
capt
urin
g •
Foot
age
sequ
enci
ng
• Sc
ene
trans
ition
s •
Videorenderingandexporting
• On-
line
editi
ng
• Off-
line
editi
ng
• Ad
ding
effe
cts
• Fi
nal m
ixin
g •
Soun
d ed
iting
with
effe
ct
• Videoeditingwitheffects
Film
Syl
labu
s Fo
rms
5 - 6
6
7
TOPI
C: 9
A
NIM
ATIO
N
15
TOPI
C: 9
AN
IMAT
ION
FORM
5
FORM
6
• HistoryofA
nimation
• An
imat
ion
proc
esse
s •
Prin
cipl
es o
f Ani
mat
ion
• Pr
inci
ples
of g
raph
ic d
esig
n •
Build
ing
bloc
ks o
f gra
phic
des
ign
• El
emen
ts o
f gra
phic
des
ign
• An
imat
ion
scrip
ting
• St
ory
boar
d de
velo
pmen
t •
Equi
pmen
t and
tool
s •
Softw
are
and
tech
nolo
gy d
evel
opm
ent
• Visualis
atio
n •
Anim
atio
n ch
arac
ters
•
Stor
yboa
rd d
evel
opm
ent
• C
ompu
ter g
ener
ated
imag
ery(CGI)
• C
hara
cter
rigg
ing
• C
reat
ing
actio
n fo
r cha
ract
er
• C
reat
ing
back
grou
nds
• C
reat
ing
scen
es fo
r ani
mat
ion
• Au
dio
reco
rdin
g an
d Li
p S
ynci
ng
• Ed
iting
•
Fina
l out
put
• U
sing
diff
eren
t Sof
twar
e
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
8
8.0
FO
RM
5 S
YLLA
BU
S
CO
MPE
TEN
CY
MAT
RIX
8.1
TO
PIC
:1
HIS
TORY
OF
FILM
PR
OD
UC
TIO
N A
ND
CU
LTU
RA
L D
YNA
MIC
S
16
8.0
FORM
5 S
YLLA
BU
S
CO
MPE
TEN
CY
MAT
RIX
8.
1 T
OPI
C:1
H
ISTO
RY
OF
FILM
PR
OD
UC
TIO
N A
ND
CU
LTU
RAL
DYN
AMIC
S SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
His
tory
of F
ilm m
akin
g in
Zi
mba
bwe
• id
entif
y fil
ms
prod
uced
in
Zim
babw
e:
- p
re-in
depe
nden
ce
- p
ost-
inde
pend
ence
-
cur
rent
•
stat
e ro
les
play
ed b
y Zi
mba
bwea
ns
in fi
lms
mad
e du
ring
-
pre-
in
depe
nden
ce
- po
st-in
depe
nden
ce
- cu
rrent
•
exam
ine
the
impa
ct o
f fil
ms
mad
e in
Zi
mba
bwe
-
pre-
inde
pend
ence
-
post
-inde
pend
ence
-
curre
nt
• an
alys
e ge
nder
role
s in
fil
ms
mad
e du
ring
- pr
e- in
depe
nden
ce
- po
st-in
depe
nden
ce
- cu
rrent
•
trace
tech
nolo
gica
l de
velo
pmen
ts u
sed
in
film
s
- pr
e- in
depe
nden
ce
- po
st-in
depe
nden
ce
- cu
rrent
• Historyoffilm
makingin
Zim
babw
e: -
pre-
inde
pend
ence
-
pos
t ind
epen
denc
e
- c
urre
nt
• R
esea
rchi
ng o
n fil
ms
prod
uced
in Z
imba
bwe
-
pre-
inde
pend
ence
-
post
-inde
pend
ence
-
cu
rrent
-
Anal
ysin
g ro
les
play
ed
by Z
imba
bwea
ns in
fil
ms
mad
e du
ring
-
pre-
inde
pend
ence
-
post
-inde
pend
ence
-
cu
rrent
•
Dis
cuss
ing
the
impa
ct o
f
f
ilms
mad
e in
Zim
babw
e -
pre-
inde
pend
ence
-
post
-inde
pend
ence
-
curre
nt
•
Crit
iqui
ng
gend
er ro
les
in
film
s m
ade
durin
g -
pre-
inde
pend
ence
-
post
-inde
pend
ence
-
curre
nt
• Id
entif
ying
tech
nolo
gica
l de
velo
pmen
ts u
sed
in fi
lms
durin
g -
pr
e-in
depe
nden
ce
-
po
st-in
depe
nden
ce
-
curre
nt
• C
ompa
ring
tech
nolo
gica
l de
velo
pmen
ts u
sed
in fi
lms
durin
g -
pr
e-in
depe
nden
ce
-
po
st-in
depe
nden
ce
-
curre
nt
• Fi
lms
• VH
Splayers
• VH
Stapes
• Be
ta c
am p
laye
r •
Beta
tape
s •
Tele
cin
e •
Cam
eras
•
16 m
m p
roje
ctor
s •
Slid
e pr
ojec
tors
•
Ree
l to
reel
•
DVD
player
• DVD
s •
Com
pute
r ha
rdw
are
and
softw
are
• In
tern
et
conn
ectio
n •
USB
•
Mon
itors
Film
Syl
labu
s Fo
rms
5 - 6
8
917
• W
atch
ing
film
s •
Tran
scrip
ting
film
s fro
m o
ld
to n
ew te
chno
logy
•
Arch
ivin
g ol
d fil
ms
in
orig
inal
sta
te
His
tory
of f
ilm m
akin
g in
Af
rica
• id
entif
y ea
rlies
t film
s m
ade
in A
frica
•
iden
tify
trend
s an
d pa
ttern
s in
the
hist
ory
of
film
mak
ing
in A
frica
•
stat
e ro
les
play
ed b
y Af
rican
s in
the
earli
est
mov
ies
• ex
amin
e th
e im
pact
of
film
s m
ade
in A
frica
• an
alys
e th
e ch
ange
in
gend
er ro
les
as fi
lm
prod
uctio
n pr
ogre
ssed
in
Afri
ca
• an
alys
e th
e ro
le p
laye
d by
film
s m
ade
in A
frica
on
dec
olon
isat
ion
• Historyo
f film
mak
ing
in
Afric
a
- so
cial
-
polit
ical
-
econ
omic
• GenderrolesinAfrican
film
s •
Nat
iona
listic
m
ovem
ent a
nd n
eo
colo
nial
ism
• Tr
ends
and
pat
tern
s
• R
esea
rchi
ng o
n ea
rly fi
lms
prod
uced
in A
frica
•
Anal
ysin
g ro
les
play
ed b
y Af
rican
s in
the
earli
est
mov
ies
prod
uced
in A
frica
•
Dis
cuss
ing
the
impa
ct o
f fil
ms
mad
e in
Afri
ca o
n th
e -
Soci
al
- Po
litic
al
- Ec
onom
ic d
evel
opm
ent
on th
e Af
rican
Soc
iety
•
Iden
tifyi
ng th
e ch
ange
s in
ge
nder
role
s as
film
mak
ing
prog
ress
ed in
Afri
ca
• Ex
plai
ning
the
role
pla
yed
by fi
lms
mad
e in
Afri
ca
•
Res
earc
hing
the
trend
s an
d pa
ttern
s in
film
mak
ing
in
Afric
a
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
10
TOPI
C: 2
SC
RIP
T W
RIT
ING
18
TOPI
C: 2
S
CR
IPT
WR
ITIN
G
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
: C
ON
TEN
T N
OTE
S AN
D S
UG
GES
TED
AC
TIVI
TIES
R
ESO
UR
CES
Intr
oduc
tion
to F
ilm
Nar
rativ
e •
defin
e na
rrativ
e st
ory
tellin
g •
iden
tify
indi
geno
us
stor
y te
lling
med
ium
s •
iden
tify
diffe
rent
gen
res
of s
tory
tellin
g •
anal
yse
film
text
as
a st
ory
tellin
g ar
t
• Fi
lm n
arra
tive
stor
y te
lling
• D
iscu
ssin
g fil
m n
arra
tive
stru
ctur
e •
Expl
aini
ng fi
lm te
xts
• Li
stin
g th
e as
pect
s of
a
narra
tive
stor
y
• Pr
esen
ting
Zim
babw
ean
folk
st
ory
•
Pres
entin
g th
e as
pect
s of
st
oryt
ellin
g w
hich
are
pec
ulia
r to
Zim
babw
ean
cont
ext
•
Wat
chin
g f
ilms
• W
ritin
g a
film
con
cept
• Fi
lms
• C
ompu
ters
•
Text
book
s •
Inte
rnet
•
Nov
els
• R
esou
rce
pers
on
Nar
rativ
e St
ruct
ures
An
d G
enre
s •
iden
tify
the
vario
us
narra
tive
stru
ctur
es
• de
fine
a pa
rticu
lar
genr
e w
ith a
n ex
ampl
e fro
m Z
imba
bwe
• ou
tline
the
rele
vanc
e of
a
genr
e in
sto
ryte
lling
• N
arra
tive
stru
ctur
es
and
genr
es
• At
tach
ing
exam
ples
to th
e na
rrativ
e st
ruct
ures
•
Wat
chin
g fil
ms
• Sp
ecify
ing
the
genr
e of
se
lect
ed fi
lms
• Pr
esen
ting
a st
ory
with
in th
e ge
nre
• Fi
lms
•
Com
pute
r •
TV
• Te
xt B
ooks
•
Mag
azin
es
• N
ovel
s •
New
spap
ers
Con
cept
cre
atio
n an
d de
velo
pmen
t
• cr
eate
a c
once
pt
• de
velo
p a
full
conc
ept
that
can
be
trans
late
d in
to a
scr
ipt
• id
entif
y so
urce
s w
hich
st
imul
ates
a c
once
pt
• id
entif
y lo
cal c
onte
xt
• C
once
ptua
lisat
ion
• St
ory
conc
ept
pres
enta
tion
• R
esea
rchi
ng fo
r the
mes
•
Dev
elop
ing
a co
ncep
t •
Just
ifyin
g th
e re
leva
ncy
of th
e co
ncep
t
• Ar
chiv
es
• In
tern
et
• N
ovel
s •
Mag
azin
es
• N
ewsp
aper
s
Film
Syl
labu
s Fo
rms
5 - 6
10
1119
and
char
acte
rs to
de
velo
p co
ncep
t tha
t up
hold
Zim
babw
ean
ideo
logy
•
iden
tify
a ty
pica
l Zi
mba
bwea
n co
ntex
t fo
r con
cept
de
velo
pmen
t
The
Art o
f sto
ry te
lling
•
iden
tify
the
diffe
rent
fo
rms
of s
tory
tellin
g •
iden
tify
diffe
rent
ap
proa
ches
to
stor
ytel
ling
•
form
ulat
e st
orie
s us
ing
diffe
rent
app
roac
hes
• dr
aw in
spira
tion
from
Zi
mba
bwea
n in
dige
nous
sto
ryte
lling
• Th
e ar
t of s
tory
tellin
g •
Des
crib
ing
with
exa
mpl
es th
e di
ffere
nt a
ppro
ache
s to
st
oryt
ellin
g •
Appl
ying
diff
eren
t for
ms
of
stor
ytel
ling
• Pr
esen
ting
stor
ies
usin
g a
parti
cula
r app
roac
h •
Pres
entin
g a
stor
y w
ith a
Zi
mba
bwea
n ba
ckdr
op
• In
tern
et
• Ar
chiv
es
info
rmat
ion
• Pr
ojec
tor
• IC
T to
ols
Film
Syl
labu
s Fo
rms
5 - 6
12
20
SCR
IPT
WR
ITIN
G C
ONT
. SU
B-T
OPI
C
LEAR
NIN
G
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Setti
ng, C
hara
cter
and
St
oryl
ine
Dev
elop
men
t
• de
fine
univ
erse
and
its
cha
ract
eris
tics
• cr
eate
a s
tory
bas
ed
on a
n id
entif
ied
setti
ng
• id
entif
y a
parti
cula
r Zi
mba
bwea
n se
tting
fo
r the
dev
elop
men
t of
a s
tory
•
outli
ne a
spec
ts o
f ch
arac
ter p
rofil
ing
• st
ate
the
impo
rtanc
e of
cha
ract
er p
rofil
ing
in s
tory
tellin
g.
• id
entif
y a
char
acte
r th
at s
uits
a s
tory
line.
•
outli
ne fe
atur
es o
f a
stor
ylin
e •
iden
tify
the
tech
nica
l re
quire
men
ts o
f st
oryl
ine
deve
lopm
ent.
•
esta
blis
h th
e re
latio
nshi
p be
twee
n st
oryl
ine,
cha
ract
er
and
setti
ng
• St
ory
setti
ng
• C
hara
cter
dev
elop
men
t
• St
oryl
ine
deve
lopm
ent
• D
escr
ibin
g th
e se
tting
of
cho
ice.
•
Writ
ing
a st
ory
base
d on
a c
hose
n se
tting
• D
evel
opin
g a
stor
y ba
sed
on a
giv
en
Zim
babw
ean
soci
ety
•
Prof
iling
char
acte
rs
whi
ch d
rives
the
stor
y fo
rwar
d.
• D
evel
opin
g a
stor
y ab
out
a
Zim
babw
ean
char
acte
r
• W
ritin
g a
stor
y w
ithin
sp
ecifi
ed b
ound
arie
s of
sto
rylin
e de
velo
pmen
t. •
Iden
tifyi
ng th
e th
ree
aspe
cts
of a
sto
ry in
sc
ript.
• C
ompu
ters
•
Book
s •
Inte
rnet
•
Film
s
Step
out
line
• de
velo
p a
step
out
line
from
a s
tory
line
• us
e a
step
out
line
to
dete
rmin
e th
e le
ngth
of
a s
tory
• St
ep o
utlin
e •
Appl
ying
a s
tep
outli
ne to
a s
tory
. •
Det
erm
inin
g th
e le
ngth
of a
sto
ry fr
om
a st
ep o
utlin
e.
• Bo
oks
• Fi
lms
• IC
T to
ols
Sequ
ence
and
sce
nes
• ou
tline
the
feat
ures
of
sequ
ence
and
sc
enes
.
• Se
quen
ce a
nd s
cene
s •
Appl
ying
seq
uenc
es
and
scen
es in
a s
tory
• Fi
lms
• IC
T to
ols
21
• cr
eate
a c
oher
ent
sequ
ence
of s
cene
s ou
t of a
sto
rylin
e
• ex
amin
e se
quen
ces
and
scen
es in
a s
tory
.
• Pr
esen
ting
a se
quen
ce o
f sce
nes
from
a s
tory
line
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
13
TOPI
C: 3
PR
OD
UC
ING
22
TOPI
C: 3
PR
OD
UC
ING
SU
B-T
OPI
C
LEAR
NIN
G
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Scrip
t ide
ntifi
catio
n
• id
entif
y re
leva
nt s
crip
ts
whi
ch u
phol
d th
e na
tiona
l bel
iefs
and
in
tegr
ity.
• Sc
ript i
dent
ifica
tion
•
Iden
tifyi
ng s
tory
re
leva
nce
• Id
entif
ying
targ
et
audi
ence
of t
he s
crip
ts
• R
eadi
ng a
nd
anal
ysin
g sc
ripts
•
Iden
tifyi
ng re
leva
nt
scrip
ts th
at u
phol
d Zi
mba
bwea
n id
eolo
gies
. •
Sele
ctin
g a
mar
keta
ble
scrip
t •
Res
earc
hing
on
sele
cted
scr
ipt
• IC
T to
ols
• Sc
ripts
Cas
ting
and
crew
ing
up
• id
entif
y th
e re
leva
nt
cast
and
cre
w fo
r a
parti
cula
r scr
ipt.
• se
lect
a c
ompa
tible
ca
st a
nd c
rew
with
in
budg
et.
• C
astin
g au
ditio
ns
•
Asse
mbl
e ke
y cr
ew
• Outliningtheprocess
of c
astin
g an
d cr
ewin
g up
. •
Sele
ctin
g th
e ca
st a
nd
crew
•
Bala
ncin
g ca
st a
nd
crew
with
the
allo
cate
d bu
dget
•
Prep
arin
g co
ntra
cts
• C
ast
• C
rew
•
Cam
era
• M
onito
rs
Bud
getin
g •
prep
are
a fe
asib
le a
nd
real
istic
bud
get
acco
rdin
g to
the
scrip
t
• Bu
dget
ing
•
Quo
tatio
ns
• R
esea
rchi
ng o
n bu
dget
requ
irem
ents
•
Dra
fting
a
budg
et
• Pr
esen
ting
a sc
reen
play
bud
get
• Sh
ootin
g sc
reen
play
•
ICT
tool
s
Sche
dulin
g
• id
entif
y id
eal l
ocat
ions
as
per
scr
ipt
requ
irem
ent.
• pr
epar
e a
prac
tical
and
re
alis
tic p
rodu
ctio
n sc
hedu
le in
line
with
the
scrip
t.
• Sc
hedu
ling
-
se
lect
ing
scen
es
-
cast
-
cr
ew
-
time
-
lo
catio
n -
eq
uipm
ent
• Pr
epar
ing
a w
orki
ng
sche
dule
.
• Visitingand
eval
uatin
g lo
catio
ns.
•
Cre
atin
g a
prod
uctio
n sc
hedu
le
• Sh
ootin
g sc
ript
• Tr
ansp
ort
• C
rew
•
Cam
era
Film
Syl
labu
s Fo
rms
5 - 6
13
1423
Prod
uctio
n m
anag
emen
t
• ou
tline
act
iviti
es o
f a
prod
uctio
n sc
hedu
le
• su
perv
ise
a pr
oduc
tion
• Pr
oduc
tion
man
agem
ent
-
pr
e-pr
oduc
tion
-
prod
uctio
n
• Sc
hedu
ling
such
as
audi
tions
and
shoo
ting
•
Com
mun
icat
ing
with
ca
st a
nd c
rew
•
Trac
king
pro
duct
ion
prog
ress
. •
Scou
ting
for l
ocat
ions
•
Secu
ring
equi
pmen
t •
Man
agin
g re
sour
ces
• IC
T to
ols
• C
ast a
nd c
rew
Ente
rpris
e an
d B
usin
ess
Ethi
cs
• Es
tabl
ish
a fil
m
prod
uctio
n bu
sine
ss
•
Man
age
a fil
m
prod
uctio
n bu
sine
ss
•
Des
ign
mar
ketin
g an
d ad
verti
sing
stra
tegi
es
• Bu
sine
ss s
et u
p
• Pr
ojec
t man
agem
ent
•
Mar
ketin
g an
d ad
verti
sing
• C
arry
ing
out a
fe
asib
ility
stud
y •
Esta
blis
hing
a
busi
ness
•
Man
agin
g a
film
pr
oduc
tion
busi
ness
• Ap
plyi
ng p
rope
r m
arke
ting
and
adve
rtisi
ng s
kills
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
15
TOPI
C:
4 D
IREC
TIN
G
24
TOPI
C:
4
DIR
ECTI
NG
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D A
CTI
VITI
ES
RES
OU
RC
ES
In
trod
uctio
n to
film
di
rect
ing
• id
entif
y di
rect
ing
role
s,
skills
and
app
roac
hes
• ap
ply
corre
ct fi
lm
voca
bula
ry
• D
irect
ing:
-
role
s -
skills
-
appr
oach
es
- fil
m la
ngua
ge
• D
iscu
ssin
g th
e ro
les,
sk
ills a
nd a
ppro
ache
s •
Dem
onst
ratin
g di
rect
ing
role
s
• Sc
ript
• IC
T to
ols
Dire
ctin
g pe
rfor
man
ces
• ca
rry
out a
uditi
ons
•
expl
ain
dram
atiz
atio
n
• ap
ply
stag
ing
and
bloc
king
• di
rect
a s
cene
• Pe
rform
ance
s -
char
acte
r de
velo
pmen
t -
dram
atis
atio
n
- bl
ocki
ng
- st
agin
g
• As
sign
ing
role
s to
cas
t
• C
arry
ing
out r
ehea
rsal
s
• Bl
ocki
ng a
sce
ne
• St
agin
g a
scen
e
• Sc
ript
• C
ast
• C
rew
•
loca
tion
Film
Syl
labu
s Fo
rms
5 - 6
15
16
TOPI
C: 5
PR
OD
UC
TIO
N D
ESIG
N
25
TOPI
C: 5
P
RO
DU
CTI
ON
DES
IGN
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Ar
t Des
ign
• ex
plai
n Ar
t Des
ign
fact
ors
• an
alys
e Ar
t ele
men
ts
• Ar
t Des
ign
fact
ors
• Fu
nctio
nal d
esig
n
• Fo
rm
• Sy
mbo
lic v
alue
•
Con
text
• D
iscu
ssin
g Ar
t Des
ign
elem
ents
•
Illus
tratin
g Ar
t Des
ign
fact
ors
• IC
T •
Tran
spor
t •
Car
pent
ry to
ols
• N
atio
nal
mon
umen
ts
acce
ss a
nd o
ther
la
nd m
arks
•
Rel
evan
t pro
ps
Zim
babw
ean
Aest
hetic
s an
d Sy
mbo
lism
in fi
lm
• st
ate
mea
ning
s of
Zi
mba
bwea
n cu
ltura
l va
lues
in fi
lm
• ex
plai
n Zi
mba
bwea
n cu
ltura
l val
ues
in fi
lm
• ju
stify
rele
vanc
e of
Zi
mba
bwea
n cu
ltura
l va
lues
in fi
lm
• Sy
mbo
lism
in fi
lm:
- sh
apes
and
-
patte
rns
- co
lour
-
dres
sing
-
cere
mon
ies
- N
atio
nal
mon
umen
ts
- Hairstyle
• Ap
plyi
ng th
e Zi
mba
bwea
n C
ultu
ral v
alue
s in
Art
Des
ign
• Ev
alua
ting
Zim
babw
ean
Cul
tura
l val
ues
in m
oder
n da
y fil
m p
rodu
ctio
n •
Con
duct
ing
Educ
atio
nal
tour
s
Set D
esig
ning
•
expl
ain
impo
rtanc
e of
se
t des
ign
in fi
lm
• de
sign
set
mod
els
• Se
t con
stru
ctio
n •
Set d
ress
ing
• Pr
op m
anag
emen
t
• D
iscu
ssin
g se
t des
ign
and
film
•
Con
stru
ctin
g se
t mod
els
• R
elev
ant b
uild
ing
tool
s •
Tran
spor
t
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
17
TOPI
C: 6
C
INEM
ATO
GR
APH
Y
26
TOPI
C: 6
C
INEM
ATO
GR
APH
Y SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Ph
otog
raph
y •
iden
tify
diffe
rent
type
s of
cam
era
tech
niqu
es
• tra
ce th
e de
velo
pmen
t of
pho
togr
aphy
•
anal
yse
prin
cipl
es o
f ph
otog
raph
y •
desi
gn s
hot
com
posi
tions
• Pr
inci
ples
of
phot
ogra
phy
• C
amer
a te
chni
ques
•
Shot
com
posi
tion
• C
hron
iclin
g th
e hi
stor
y of
ph
otog
raph
y •
Illus
tratin
g th
e di
ffere
nt
cam
era
tech
niqu
es
• C
ompo
sing
diff
eren
t typ
es o
f sh
ots
• C
amer
a an
d ac
cess
orie
s
• IC
T to
ols
• Li
ghtin
g eq
uipm
ent
Cin
emat
ogra
phy
• tra
ce th
e de
velo
pmen
t of
vid
eo c
amer
as
• ex
amin
e pr
inci
ples
of
ci
nem
atog
raph
y •
anal
yse
the
diffe
rent
ty
pes
of v
ideo
cam
eras
te
chno
logy
• Pr
inci
ples
of
Cin
emat
ogra
phy
• Videocamerasand
tech
nolo
gy
deve
lopm
ent
• Eq
uipm
ent h
andl
ing
• Outliningthehistoryofvideo
cam
eras
•
Appl
ying
prin
cipl
es o
f C
inem
atog
raph
y •
Operatingdiffe
rent
type
s of
vi
deo
cam
eras
Ligh
ting
• ex
plor
e pr
inci
ples
of
light
ing
• id
entif
y ty
pes
of li
ghts
an
d th
eir u
se
• Pr
inci
ples
of l
ight
ing
•
Type
s of
ligh
ting
and
tech
nolo
gy
deve
lopm
ent
• Sa
fety
rule
s
• D
iscu
ssin
g pr
inci
ples
of
light
ing
• Operatinglightingtechnology
Film
Syl
labu
s Fo
rms
5 - 6
17
18
TOPI
C: 7
SO
UN
D
27
TOPI
C: 7
SO
UN
D
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
: C
ON
TEN
T N
OTE
S AN
D S
UG
GES
TED
AC
TIVI
TIES
R
ESO
UR
CES
Prin
cipl
es o
f sou
nd
• tra
ce th
e or
igin
s of
so
und
reco
rdin
g •
expl
ain
the
use,
type
s so
urce
s an
d ro
le o
f so
und
in fi
lm
• re
cord
var
ious
sou
nds
• So
und
and
it’s
scie
nce
• So
und
reco
rdin
g •
Use
of s
ound
•
Type
s of
sou
nd
• So
urce
s of
sou
nd
• R
ole
of s
ound
•
Rol
e of
dia
logu
e
• W
atch
ing
film
s •
List
enin
g to
film
sou
nds
• D
iscu
ssin
g im
pact
of s
ound
in
film
s •
Soun
d re
cord
ing
• Fi
lms
and
soun
d re
cord
ing
equi
pmen
t
Film
sou
nd te
chno
logy
an
d de
velo
pmen
t •
iden
tify
diffe
rent
type
s of
film
sou
nd
equi
pmen
t
• tra
ce th
e de
velo
pmen
t of
sou
nd e
quip
men
t •
expl
ain
diffe
rent
sou
nd
outp
ut fo
rmat
s
• So
und
equi
pmen
t de
velo
pmen
ts
• So
und
outp
ut fo
rmat
s
• Ill
ustra
ting
use
of d
iffer
ent
type
s of
sou
nd e
quip
men
t •
Dis
cuss
ing
the
deve
lopm
ent
of s
ound
equ
ipm
ent
•
Rec
ordi
ng s
ound
form
ats
requ
ired
Film
Syl
labu
s Fo
rms
5 - 6
19
TOPI
C: 8
ED
ITIN
G
28
TOPI
C: 8
ED
ITIN
G
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
: C
ON
TEN
T N
OTE
S AN
D S
UG
GES
TED
AC
TIVI
TIES
R
ESO
UR
CES
Intr
oduc
tion
to e
ditin
g •
defin
e fil
m e
ditin
g •
trace
the
hist
ory
of fi
lm
editi
ng
• an
alys
e pr
inci
ples
of
editi
ng
• ex
plai
n as
soci
ativ
e ar
rang
emen
t •
expl
ore
timin
g
• R
oles
and
ele
men
ts o
f Ed
iting
•
Prin
cipl
es o
f film
ed
iting
•
Asso
ciat
ive
arra
ngem
ent
• W
atch
ing
film
s •
Dis
cuss
ing
hist
ory
of fi
lm
editi
ng
• Ex
amin
ing
prin
cipl
es o
f ed
iting
•
Illus
tratin
g as
soci
ativ
e ar
rang
emen
t •
Brea
kdow
n tim
ing
• Ed
iting
sui
te
• Ed
iting
sof
twar
e •
Film
s •
Foot
age
Editi
ng T
echn
olog
y an
d te
chni
ques
•
iden
tify
diffe
rent
type
s of
edi
ting
Softw
ares
•
expl
ore
editi
ng
tech
nolo
gy
• ex
plor
e di
ffere
nt ty
pes
of v
ideo
form
ats
• de
scrib
e th
e pr
oces
s of
fo
otag
e ca
ptur
ing
and
sequ
enci
ng
• ex
plai
n sh
ot a
nd s
cene
tra
nsiti
ons
• de
scrib
e cu
tting
rate
an
d rh
ythm
•
expl
ore
use
of s
ound
• Ed
iting
tool
s an
d eq
uipm
ent
• Ed
iting
Sof
twar
e •
Videoform
ats
• Fo
otag
e ca
ptur
ing
•
Foot
age
sequ
enci
ng
• Sh
ot tr
ansi
tion
• Sc
ene
trans
ition
•
Cut
ting
rate
•
Cut
ting
rhyt
hm
• U
se o
f sou
nd
• D
iscu
ssin
g ed
iting
equ
ipm
ent
deve
lopm
ent
• Operatingediting
equi
pmen
t •
Usi
ng e
ditin
g so
ftwar
e •
Expo
rting
vid
eo in
requ
ired
form
ats
• C
arry
ing
out f
oota
ge
capt
urin
g an
d se
quen
cing
•
Appl
ying
sce
ne tr
ansi
tion
•
Illus
tratin
g cu
tting
rate
and
rh
ythm
•
Appl
ying
use
of s
ound
Type
s of
edi
ting
• ex
plai
n on
line
editi
ng
• an
alys
e of
fline
edi
ting
• On-
line
editi
ng
• Off-
line
editi
ng
• C
arry
ing
out o
nlin
e ed
iting
•
Appl
ying
offl
ine
editi
ng
28
TOPI
C: 8
ED
ITIN
G
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
: C
ON
TEN
T N
OTE
S AN
D S
UG
GES
TED
AC
TIVI
TIES
R
ESO
UR
CES
Intr
oduc
tion
to e
ditin
g •
defin
e fil
m e
ditin
g •
trace
the
hist
ory
of fi
lm
editi
ng
• an
alys
e pr
inci
ples
of
editi
ng
• ex
plai
n as
soci
ativ
e ar
rang
emen
t •
expl
ore
timin
g
• R
oles
and
ele
men
ts o
f Ed
iting
•
Prin
cipl
es o
f film
ed
iting
•
Asso
ciat
ive
arra
ngem
ent
• W
atch
ing
film
s •
Dis
cuss
ing
hist
ory
of fi
lm
editi
ng
• Ex
amin
ing
prin
cipl
es o
f ed
iting
•
Illus
tratin
g as
soci
ativ
e ar
rang
emen
t •
Brea
kdow
n tim
ing
• Ed
iting
sui
te
• Ed
iting
sof
twar
e •
Film
s •
Foot
age
Editi
ng T
echn
olog
y an
d te
chni
ques
•
iden
tify
diffe
rent
type
s of
edi
ting
Softw
ares
•
expl
ore
editi
ng
tech
nolo
gy
• ex
plor
e di
ffere
nt ty
pes
of v
ideo
form
ats
• de
scrib
e th
e pr
oces
s of
fo
otag
e ca
ptur
ing
and
sequ
enci
ng
• ex
plai
n sh
ot a
nd s
cene
tra
nsiti
ons
• de
scrib
e cu
tting
rate
an
d rh
ythm
•
expl
ore
use
of s
ound
• Ed
iting
tool
s an
d eq
uipm
ent
• Ed
iting
Sof
twar
e •
Videoform
ats
• Fo
otag
e ca
ptur
ing
•
Foot
age
sequ
enci
ng
• Sh
ot tr
ansi
tion
• Sc
ene
trans
ition
•
Cut
ting
rate
•
Cut
ting
rhyt
hm
• U
se o
f sou
nd
• D
iscu
ssin
g ed
iting
equ
ipm
ent
deve
lopm
ent
• Operatingediting
equi
pmen
t •
Usi
ng e
ditin
g so
ftwar
e •
Expo
rting
vid
eo in
requ
ired
form
ats
• C
arry
ing
out f
oota
ge
capt
urin
g an
d se
quen
cing
•
Appl
ying
sce
ne tr
ansi
tion
•
Illus
tratin
g cu
tting
rate
and
rh
ythm
•
Appl
ying
use
of s
ound
Type
s of
edi
ting
• ex
plai
n on
line
editi
ng
• an
alys
e of
fline
edi
ting
• On-
line
editi
ng
• Off-
line
editi
ng
• C
arry
ing
out o
nlin
e ed
iting
•
Appl
ying
offl
ine
editi
ng
29
• ex
plor
e ef
fect
ing
• an
alys
e fin
al m
ix
• ex
plai
n vi
deo
rend
erin
g an
d ex
porti
ng p
roce
ss
• Ad
ding
effe
cts
• Fi
nal m
ixin
g •
Ren
derin
g an
d ex
porti
ng
• Ap
plyi
ng
effe
cts
•
Car
ryin
g ou
t fin
al m
ix
• C
arry
ing
out v
ideo
rend
erin
g an
d ex
porti
ng
TOPI
C: 9
A
NIM
ATIO
N
SUB
-TO
PIC
LE
ARN
ING
O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
His
tory
of a
nim
atio
n •
defin
e an
imat
ion
• id
entif
y hi
stor
ical
and
cu
rrent
tech
niqu
es
used
in a
nim
atio
n
•
expl
ore
anim
atio
n fo
rms
• D
iffer
ent f
orm
s of
an
imat
ion:
-
clay
mat
ion
- st
op m
otio
n -
pixi
latio
n -
flipb
ook
• Te
chni
ques
: -
zoet
rope
-
kine
scop
e •
Flip
boo
k •
Stop
mot
ion
• R
esea
rchi
ng o
n di
ffere
nt
form
s of
ani
mat
ion
• D
escr
ibin
g hi
stor
ical
and
cu
rrent
te
chni
ques
use
d in
an
imat
ion
• D
emon
stra
ting
anim
atio
n fo
rms
• In
tern
et
• IC
T to
ols
• So
ftwar
e •
Cam
era
• C
ompu
ter
• C
amer
a
• Fl
ip b
ooks
•
Com
pute
r •
Anim
ated
mov
ies
proj
ecto
r •
Anim
ated
film
s pr
ojec
tor
• in
tern
et
Prin
cipl
es o
f Ani
mat
ion
• id
entif
y pr
inci
ples
of
anim
atio
n •
Prin
cipl
es o
f ani
mat
ion
such
as
-
arcs
-
sta
ging
-
app
eal
- s
quas
h an
d
st
retc
h
• D
escr
ibin
g pr
inci
ples
of
anim
atio
n •
Wat
chin
g an
d an
alys
ing
anim
ated
film
s
Elem
ents
of g
raph
ic
desi
gn
• id
entif
y el
emen
ts o
f gr
aphi
c de
sign
s
• Graphicdesignelem
ents
such
as
- c
olou
r -
tex
ture
-
dot
-
line
• an
alys
ing
elem
ents
of
grap
hic
desi
gn
• C
ritiq
uing
cre
ated
des
igns
IC
T to
ols
Bui
ldin
g bl
ocks
of d
esig
n •
exam
ine
build
ing
bloc
ks o
f des
ign
• Bu
ildin
g bl
ocks
suc
h as
- ty
pe
- sh
ape
- ba
lanc
e
• D
escr
ibin
g bu
ildin
g bl
ocks
of
gra
phic
des
ign
• U
sing
bui
ldin
g bl
ocks
to
crea
te d
esig
ns
• In
tern
et
• IC
T to
ols
• so
ftwar
e
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
20
TOPI
C: 9
A
NIM
ATIO
N
29
• ex
plor
e ef
fect
ing
• an
alys
e fin
al m
ix
• ex
plai
n vi
deo
rend
erin
g an
d ex
porti
ng p
roce
ss
• Ad
ding
effe
cts
• Fi
nal m
ixin
g •
Ren
derin
g an
d ex
porti
ng
• Ap
plyi
ng
effe
cts
•
Car
ryin
g ou
t fin
al m
ix
• C
arry
ing
out v
ideo
rend
erin
g an
d ex
porti
ng
TOPI
C: 9
A
NIM
ATIO
N
SUB
-TO
PIC
LE
ARN
ING
O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
His
tory
of a
nim
atio
n •
defin
e an
imat
ion
• id
entif
y hi
stor
ical
and
cu
rrent
tech
niqu
es
used
in a
nim
atio
n
•
expl
ore
anim
atio
n fo
rms
• D
iffer
ent f
orm
s of
an
imat
ion:
-
clay
mat
ion
- st
op m
otio
n -
pixi
latio
n -
flipb
ook
• Te
chni
ques
: -
zoet
rope
-
kine
scop
e •
Flip
boo
k •
Stop
mot
ion
• R
esea
rchi
ng o
n di
ffere
nt
form
s of
ani
mat
ion
• D
escr
ibin
g hi
stor
ical
and
cu
rrent
te
chni
ques
use
d in
an
imat
ion
• D
emon
stra
ting
anim
atio
n fo
rms
• In
tern
et
• IC
T to
ols
• So
ftwar
e •
Cam
era
• C
ompu
ter
• C
amer
a
• Fl
ip b
ooks
•
Com
pute
r •
Anim
ated
mov
ies
proj
ecto
r •
Anim
ated
film
s pr
ojec
tor
• in
tern
et
Prin
cipl
es o
f Ani
mat
ion
• id
entif
y pr
inci
ples
of
anim
atio
n •
Prin
cipl
es o
f ani
mat
ion
such
as
-
arcs
-
sta
ging
-
app
eal
- s
quas
h an
d
st
retc
h
• D
escr
ibin
g pr
inci
ples
of
anim
atio
n •
Wat
chin
g an
d an
alys
ing
anim
ated
film
s
Elem
ents
of g
raph
ic
desi
gn
• id
entif
y el
emen
ts o
f gr
aphi
c de
sign
s
• Graphicdesignelem
ents
such
as
- c
olou
r -
tex
ture
-
dot
-
line
• an
alys
ing
elem
ents
of
grap
hic
desi
gn
• C
ritiq
uing
cre
ated
des
igns
IC
T to
ols
Bui
ldin
g bl
ocks
of d
esig
n •
exam
ine
build
ing
bloc
ks o
f des
ign
• Bu
ildin
g bl
ocks
suc
h as
- ty
pe
- sh
ape
- ba
lanc
e
• D
escr
ibin
g bu
ildin
g bl
ocks
of
gra
phic
des
ign
• U
sing
bui
ldin
g bl
ocks
to
crea
te d
esig
ns
• In
tern
et
• IC
T to
ols
• so
ftwar
e
Film
Syl
labu
s Fo
rms
5 - 6
20
2130
- sp
ace
-
dim
ensi
on
- di
rect
ion
- m
ovem
ent
- sc
ale
Prin
cipl
es o
f gra
phic
de
sign
-
defin
e pr
inci
ples
of
grap
hic
desi
gn
• Pr
inci
ples
of g
raph
ic
desi
gn
- Pr
opor
tion
- Ba
lanc
e -
Emph
asis
-
rhyt
hm
• Id
entif
ying
gra
phic
des
igns
fro
m d
esig
ned
mat
eria
ls
Anim
atio
n pr
oces
s •
conc
eive
an
idea
of
anim
atio
n •
prod
uce
an a
nim
atio
n sc
ript
• de
sign
an
anim
atio
n st
ory
boar
d •
sequ
ence
im
ages
on
the
timel
ine
•
trace
the
anim
atio
n pr
oces
s
• Visualisation
• Sc
ript
• C
hara
cter
-
colo
ur
- ba
ckgr
ound
-
text
ure
• St
ory
boar
d -
colo
ur
- ca
mer
a an
gles
-
light
ing
• An
imat
ics
• An
imat
ion
• C
once
ivin
g a
stor
y lin
e •
Prod
ucin
g a
scrip
t •
Des
ign
a ch
arac
ter
• C
reat
ing
a st
ory
boar
d •
Prod
ucin
g an
ani
mat
ic
• pr
oduc
ing
an a
nim
atio
n
Softw
are
tech
nolo
gy
deve
lopm
ent
• pr
oduc
e an
ani
mat
ion
• An
imat
ion
softw
ares
suc
h as
-
adob
e pr
emie
r -
adob
ePho
tosh
op
- an
ime
stud
io p
ro
• Sc
anni
ng im
ages
•
Impo
rting
imag
es.
• Se
quen
cing
imag
es
• Sy
nchr
onis
ing
sequ
ence
d
imag
es w
ith
ef
fect
s
- so
und
- m
usic
-
audi
o
- te
xt
• In
tern
et
• IC
T to
ols
• So
ftwar
e
Mas
terin
g/ R
ende
ring
• re
nder
to p
rodu
ce
anim
atio
n •
Softw
ares
suc
h as
-ado
be
pre
mie
r pro
-
anim
e st
udio
pro
• U
sing
sof
twar
e to
rend
er
an a
nim
atio
n
Arch
ivin
g •
arch
ive
an a
nim
atio
n pr
oduc
t •
Anim
atio
n pr
oduc
t •
Usi
ng c
ompu
ter c
ompa
ct
disc
to a
rchi
ve th
e ha
rd
driv
es fi
nish
ed p
rodu
ct
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
22
FOR
M 6
CO
MPE
TEN
CY
MAT
RIX
TOPI
C: 1
H
ISTO
RY O
F FI
LM P
RO
DU
CTI
ON
AN
D C
ULT
UR
E D
YNA
MIC
31
FO
RM 6
C
OM
PETE
NC
Y M
ATR
IX
TOPI
C: 1
H
ISTO
RY
OF
FILM
PR
OD
UC
TIO
N A
ND
CU
LTU
RE
DYN
AMIC
TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S Le
arne
rs s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
His
tory
of f
ilm M
akin
g in
th
e w
orld
•
iden
tify
the
first
ste
ps in
fil
m m
akin
g th
at
dist
ingu
ishe
d ci
nem
a fro
m p
hoto
grap
hy
• id
entif
y th
e fir
st e
ver
mot
ion
pict
ure
mad
e •
iden
tify
the
first
co
llabo
ratio
ns b
etw
een
Afric
a an
d th
e W
est i
n fil
m m
akin
g •
anal
yse
the
influ
ence
of
the
intro
duct
ion
of
soun
d to
mot
ion
pict
ure
•
eval
uate
the
polit
ical
m
onop
olis
atio
n of
the
film
indu
stry
in th
e fir
st
and
seco
nd w
orld
war
•
anal
yse
the
impa
ct o
f fil
m m
akin
g to
war
ds
glob
alis
atio
n
• Historyoffilm
making
in th
e w
orld
-
Afro
Am
eric
an
- A
sia
- C
arib
bean
- S
outh
Am
eric
a -
Eur
ope
• R
esea
rchi
ng o
n fir
st fi
lms
mad
e in
the
wor
ld
• W
atch
ing
film
s •
Anal
ysin
g th
e ro
les
play
ed b
y th
e fir
st fi
lm m
aker
s •
dedu
cing
the
polit
ical
m
anip
ulat
ion
behi
nd th
e m
ovie
•
Anal
ysin
g ea
rly
colla
bora
tions
bet
wee
n Af
rica
and
the
Wes
t on
Soci
al, p
oliti
cal a
nd
econ
omic
poi
nt o
f vie
w.
•
Iden
tifyi
ng th
e co
ntrib
utio
n m
ade
by fi
lm m
akin
g to
war
ds
glob
alis
atio
n •
Illus
tratin
g th
e ec
onom
ic
gain
s fro
m fi
lm m
akin
g of
a
coun
try o
f you
r cho
ice
• Fi
lms
• Li
tera
ture
•
proj
ecto
rs
• TV
•
Soun
d eq
uipm
ent
• VH
Splayer
•
Inte
rnet
Film
Syl
labu
s Fo
rms
5 - 6
22
23
TOPI
C:
2 S
CR
IPT
WR
ITIN
G
32
TOPI
C:
2
SCR
IPT
WR
ITIN
G
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S Le
arne
rs s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D A
CTI
VITI
ES
RES
OU
RC
ES
Scr
ipt d
evel
opm
ent
• ap
ply
prin
cipl
es o
f sc
ript w
ritin
g to
a s
crip
t •
prep
are
a fu
ll-fle
dged
sc
ript i
n th
e co
rrect
fo
rmat
• Sc
ript d
evel
opm
ent a
nd
form
attin
g •
Adap
tatio
ns
• Sc
ript f
orm
attin
g •
Trea
tmen
t writ
ing
• Sc
reen
play
and
di
alog
ue w
ritin
g
• W
ritin
g a
scrip
t in
the
corre
ct fo
rmat
•
Adap
ting
a st
ory
into
a
film
scr
ipt
• W
ritin
g a
treat
men
t •
Scre
enpl
ay a
nd
dial
ogue
writ
ing
• C
ritiq
uing
scr
eenp
lay
• Pi
tchi
ng th
e sc
ript
• Hardw
areand
softw
are
• Fi
lms
• In
tern
et
• Bo
oks
Inte
llect
ual P
rope
rty
law
s an
d co
pyrig
hts
• co
mpa
re lo
cal,
regi
onal
and
in
tern
atio
nal
Inte
llect
ual P
rope
rty
law
s •
com
pare
loca
l, re
gion
al a
nd
inte
rnat
iona
l cop
yrig
ht
law
s
• In
telle
ctua
l Pro
perty
la
ws
• C
opyr
ight
law
s
• An
alys
ing
loca
l, re
gion
al a
nd
Inte
rnat
iona
l In
telle
ctua
l Pro
perty
la
ws
•
Anal
ysin
g lo
cal,
regi
onal
and
in
tern
atio
nal c
opyr
ight
la
ws
• Bo
oks
• IP
act
s •
Cop
yrig
ht a
cts
• IC
T to
ols
Film
Syl
labu
s Fo
rms
5 - 6
24
TOPI
C: 3
PR
OD
UC
ING
33
TOPI
C: 3
PR
OD
UC
ING
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES
Lear
ners
sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Film
Fin
anci
ng
• id
entif
y pr
ospe
ctiv
e in
vest
ors
for a
pr
oduc
tion.
•
prep
are
a co
mpr
ehen
sive
bud
get.
• Pr
epar
e fin
anci
ng p
lan
• Pi
tchi
ng
• Fi
nanc
ing
•
Sour
ce o
f fin
ance
(fu
ndra
isin
g st
rate
gy)
• Li
stin
g po
tent
ial
fund
ing
sour
ces
• Pr
esen
ting
a bu
dget
to
a p
oten
tial i
nves
tor
• Pr
epar
ing
a bu
dget
•
Pres
entin
g a
fund
rais
ing
stra
tegy
• Sc
reen
play
•
ICT
tool
s
Mar
ketin
g an
d di
strib
utio
n •
iden
tify
poss
ible
m
arke
ts fo
r a
prod
uctio
n •
iden
tify
poss
ible
m
arke
ting
partn
ers.
•
form
ulat
e a
mar
ketin
g st
rate
gy
• D
esig
n a
publ
icity
st
rate
gy
• M
arke
ting
and
dist
ribut
ion
•
List
ing
poss
ible
m
arke
ts fo
r a
prod
uctio
n.
• Pr
epar
ing
a m
arke
ting
stra
tegy
•
Prep
arin
g a
publ
icity
st
rate
gy
• Pr
epar
ing
a di
strib
utio
n st
rate
gy
•
Scre
enpl
ay
•
ICT
tool
s
Proj
ect p
ortfo
lio c
onte
nts
• cr
eate
a p
roje
ct
portf
olio
•
prep
are
a pr
ess
kit
• Pr
ojec
t por
tfolio
co
nten
ts:
- s
crip
t -
sch
edul
es
- d
aily
repo
rts
- m
inut
es o
f mee
tings
-
film
- s
ketc
h de
sign
s •
Pres
s ki
t
- Pi
ctur
e fo
r pub
licity
an
d pr
omot
iona
l m
ater
ials
• C
reat
ing
a pr
ojec
t po
rtfol
io
• C
reat
ing
a pr
ess
kit
• As
sign
men
ts
• IC
T to
ols
• Pr
ojec
ts
• Fi
les
Film
mar
kets
• re
spon
d to
bro
adca
st
brie
f
• ex
plor
e fil
m fe
stiv
als
• Br
oadc
astin
g •
Film
fest
ival
s
• W
ritin
g a
prop
osal
ac
cord
ing
to th
e br
oadc
astin
g br
ief
•
Atte
ndin
g fil
m
fest
ival
s
• IC
T to
ols
• R
esou
rce
pers
on
33
TOPI
C: 3
PR
OD
UC
ING
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES
Lear
ners
sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Film
Fin
anci
ng
• id
entif
y pr
ospe
ctiv
e in
vest
ors
for a
pr
oduc
tion.
•
prep
are
a co
mpr
ehen
sive
bud
get.
• Pr
epar
e fin
anci
ng p
lan
• Pi
tchi
ng
• Fi
nanc
ing
•
Sour
ce o
f fin
ance
(fu
ndra
isin
g st
rate
gy)
• Li
stin
g po
tent
ial
fund
ing
sour
ces
• Pr
esen
ting
a bu
dget
to
a p
oten
tial i
nves
tor
• Pr
epar
ing
a bu
dget
•
Pres
entin
g a
fund
rais
ing
stra
tegy
• Sc
reen
play
•
ICT
tool
s
Mar
ketin
g an
d di
strib
utio
n •
iden
tify
poss
ible
m
arke
ts fo
r a
prod
uctio
n •
iden
tify
poss
ible
m
arke
ting
partn
ers.
•
form
ulat
e a
mar
ketin
g st
rate
gy
• D
esig
n a
publ
icity
st
rate
gy
• M
arke
ting
and
dist
ribut
ion
•
List
ing
poss
ible
m
arke
ts fo
r a
prod
uctio
n.
• Pr
epar
ing
a m
arke
ting
stra
tegy
•
Prep
arin
g a
publ
icity
st
rate
gy
• Pr
epar
ing
a di
strib
utio
n st
rate
gy
•
Scre
enpl
ay
•
ICT
tool
s
Proj
ect p
ortfo
lio c
onte
nts
• cr
eate
a p
roje
ct
portf
olio
•
prep
are
a pr
ess
kit
• Pr
ojec
t por
tfolio
co
nten
ts:
- s
crip
t -
sch
edul
es
- d
aily
repo
rts
- m
inut
es o
f mee
tings
-
film
- s
ketc
h de
sign
s •
Pres
s ki
t
- Pi
ctur
e fo
r pub
licity
an
d pr
omot
iona
l m
ater
ials
• C
reat
ing
a pr
ojec
t po
rtfol
io
• C
reat
ing
a pr
ess
kit
• As
sign
men
ts
• IC
T to
ols
• Pr
ojec
ts
• Fi
les
Film
mar
kets
• re
spon
d to
bro
adca
st
brie
f
• ex
plor
e fil
m fe
stiv
als
• Br
oadc
astin
g •
Film
fest
ival
s
• W
ritin
g a
prop
osal
ac
cord
ing
to th
e br
oadc
astin
g br
ief
•
Atte
ndin
g fil
m
fest
ival
s
• IC
T to
ols
• R
esou
rce
pers
on
34
• ex
amin
e ci
nem
a an
d br
oadc
astin
g tre
nds
• ex
plor
e ne
w m
edia
tre
nds
• C
inem
a
• N
ew m
edia
• To
urin
g ci
nem
as a
nd
broa
dcas
ting
hous
es
• R
esea
rchi
ng n
ew
med
ia tr
ends
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
25
TOPI
C: 4
DIR
ECTI
NG
35
TOPI
C: 4
D
IREC
TIN
G
SUB
-TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S:
lear
ner s
houl
d be
abl
e to
: C
ON
TEN
T N
OTE
S AN
D S
UG
GES
TED
AC
TIVI
TIES
R
ESO
UR
CES
Prin
cipl
es o
f dire
ctin
g •
appl
y th
e pr
inci
ples
of
dire
ctin
g •
appl
y co
mm
unic
atio
n sk
ills a
nd c
ompo
sitio
n te
chni
ques
• Pr
inci
ples
•
Trou
ble
shoo
ting
• Visualisation
• C
omm
unic
atio
n •
Scen
e co
mpo
sitio
n
• C
reat
ing
scen
e co
mpo
sitio
n •
Writ
ing
dire
ctor
’s tr
eatm
ent
• C
ondu
ctin
g pr
oduc
tion
mee
tings
• C
ompu
ter
• St
atio
nery
•
Acto
rs
• C
rew
Dire
ctin
g pe
rfor
man
ces
• de
sign
dire
ctin
g pe
rform
ance
•
eval
uate
dra
mat
izat
ion
• ap
ply
bloc
king
• Pe
rform
ance
s:
- ch
arac
ter
deve
lopm
ent
- dr
amat
isat
ion
- bl
ocki
ng
• C
arry
ing
out a
uditi
ons
• C
ondu
ctin
g re
hear
sals
•
Com
pute
r •
Stat
ione
ry
• Ac
tors
•
Cre
w
Tech
nica
l Dire
ctin
g •
dem
onst
rate
sta
ging
te
chni
ques
•
expl
ore
prop
s ne
eds
• ap
ply
sym
bolis
m
• Te
chni
cal b
lock
ing
• Te
chni
cal r
ecog
nisa
nce
• Bl
ocki
ng fo
r tec
hnic
al c
rew
• Ac
tors
•
Stat
ione
ry
• C
rew
Dire
ctin
g fu
ndam
enta
ls
• ex
plai
n ch
arac
ter
enga
gem
ent
• di
scus
s em
otio
nal,
cultu
ral,
rele
vanc
e an
d hu
man
psy
chol
ogy
• ex
plor
e di
ffere
nt
dire
ctin
g ap
proa
ches
• di
rect
ing
appr
oach
es
• di
rect
ing
tech
niqu
es
• R
esea
rchi
ng d
iffer
ent
tech
niqu
es a
nd g
enre
s •
Anal
ysin
g ch
arac
ter
enga
gem
ent
• IC
T to
ols
• Bo
oks
• jo
urna
ls
Dire
ctin
g in
Pos
t Pr
oduc
tion
• pr
epar
e an
edi
ting
scrip
t •
supe
rvis
ion
of th
e ed
iting
pro
cess
• Su
perv
isio
n of
ed
iting
pro
cess
• Su
perv
isin
g ed
iting
pro
cess
•
ICT
tool
s •
Book
s •
jour
nals
Film
Syl
labu
s Fo
rms
5 - 6
25
26
TOPI
C:
5 P
RO
DU
CTI
ON
DES
IGN
36
TOPI
C:
5
P
RO
DU
CTI
ON
DES
IGN
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Prin
cipl
es o
f col
our i
n fil
m
• id
entif
y di
ffere
nt ty
pes
of c
olou
rs in
pro
duct
ion
desi
gn
• ex
plai
n th
e m
eani
ng o
f co
lour
pro
duct
ion
desi
gn
• illu
stra
te th
e di
ffere
nt
use
of c
olou
r in
prod
uctio
n de
sign
• C
olou
r in
prod
uctio
n de
sign
• D
iscu
ssin
g ty
pes
of c
olou
r an
d m
eani
ng in
cul
tura
l co
ntex
ts
• D
esig
n di
ffere
nt c
olou
r pa
llets
•
Com
parin
g di
ffere
nt
mea
ning
s an
d ef
fect
s of
co
lour
•
Anal
ysin
g ph
ysio
logi
cal a
nd
psyc
holo
gica
l effe
cts
of
colo
ur
• Ap
ply
colo
ur in
pro
duct
ion
desi
gn
• C
olou
r pal
lets
•
Book
s •
ICT
tool
s
War
drob
e de
sign
and
m
ake
up
• id
entif
y ap
prop
riate
co
stum
es
• de
sign
app
ropr
iate
co
stum
es
• m
anag
e w
ardr
obe
•
iden
tify
appr
opria
te
cosm
etic
s
• ex
plai
n sp
ecia
l mak
e up
• C
ostu
me
desi
gn
• W
ardr
obe
man
agem
ent
• C
osm
etic
s
• Sp
ecia
l mak
e up
• D
iscu
ssin
g co
stum
e de
sign
• Ill
ustra
ting
cost
ume
desi
gn
•
Supe
rvis
ing
war
drob
e us
e
• D
iscu
ssin
g co
smet
ics
• D
emon
stra
ting
cosm
etic
s ap
plic
atio
n •
Appl
ying
spe
cial
mak
e up
• C
osm
etic
s •
cost
umes
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
27
TOPI
C: 6
C
INEM
ATO
GR
APH
Y
37
TOPI
C: 6
CIN
EMAT
OG
RAP
HY
SU
B-T
OPI
C
LEAR
NIN
G O
BJE
CTI
VES:
le
arne
r sho
uld
be a
ble
to:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Cin
emat
ogra
phy
• id
entif
y di
ffere
nt ty
pes
of v
ideo
form
ats
• pr
epar
e a
cine
mat
ogra
pher
’s
treat
men
t •
expl
ore
cam
era,
an
gles
, mov
es, l
ense
s,
focu
s an
d vi
ew p
oint
s •
expl
ain
shot
, siz
e,
fram
ing
and
com
posi
tion
• Videoform
ats
• C
amer
a -
Angl
es
- M
ovem
ent
- Le
nses
-
Focu
s -
View
point
-
Size
-
Fram
ing
- C
ompo
sitio
n
• D
iscu
ssin
g di
ffere
nt v
ideo
fo
rmat
s •
Appl
ying
cam
era
tech
niqu
es
•
Illus
tratin
g sh
ot c
ompo
sitio
n •
Writ
ing
a tre
atm
ent
• Video
cam
era
and
acce
ssor
ies
• Li
ghtin
g eq
uipm
ent a
nd
acce
ssor
ies
• Videocamera
cons
umab
les
• Li
ghtin
g co
nsum
able
s
Vide
o Li
ghtin
g •
brea
k do
wn
diffe
rent
ty
pes
of li
ghtin
g •
anal
yse
light
ing
mot
ivat
ions
• Pr
inci
ples
of l
ight
ing
•
Ligh
ting
mot
ivat
ions
• Ap
plyi
ng d
iffer
ent t
ypes
of
light
ing
• D
emon
stra
ting
light
ing
mot
ivat
ion
• Video
cam
era
and
acce
ssor
ies
• Li
ghtin
g eq
uipm
ent a
nd
acce
ssor
ies
• Videocam
era
cons
umab
les
• Li
ghtin
g co
nsum
able
s
Film
Syl
labu
s Fo
rms
5 - 6
27
28
TOPI
C: 7
S
OU
ND
38
TOPI
C: 7
SOU
ND
TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S Le
arne
rs s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D A
CTI
VITI
ES
RES
OU
RC
ES
Soun
d ed
iting
•
iden
tify
diffe
rent
type
s of
sou
nd e
ffect
s
• id
entif
y ty
pe o
f mus
ic in
fil
m
• ex
plai
n fu
nctio
n of
so
und
effe
ct
• an
alys
e us
e of
Fol
ey
soun
ds
• an
alys
e fu
nctio
n of
m
usic
in fi
lm
• ex
amin
e th
e im
pact
of
mus
ic in
film
•
expl
ain
audi
o sy
nchr
onis
atio
n •
anal
yse
type
s of
rh
ythm
s an
d le
vels
• So
und
editi
ng
• Ty
pes
of s
ound
effe
cts
•
Fole
y so
und
•
Mus
ic in
film
• D
iscu
ssin
g so
und
effe
cts
• D
emon
stra
ting
func
tions
of s
ound
ef
fect
s •
Dis
cuss
ing
type
s of
m
usic
•
Illus
tratin
g cr
eatio
n of
Fo
ley
soun
d •
Dem
onst
ratin
g th
e fu
nctio
n of
mus
ic
• Ap
plyi
ng m
usic
in fi
lm
•
Anal
ysin
g im
pact
of
mus
ic in
film
•
Car
ryin
g ou
t aud
io
sync
hron
isat
ions
•
Dem
onst
ratio
n au
dio
rhyt
hms
•
Appl
ying
requ
ired
leve
ls
• So
und
reco
rdin
g eq
uipm
ent
• IC
T to
ols
• So
und
editi
ng s
oftw
are
Film
Syl
labu
s Fo
rms
5 - 6
Film
Syl
labu
s Fo
rms
5 - 6
29
TOPI
C: 8
ED
ITIN
G
39
TOPI
C: 8
E
DIT
ING
TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S Le
arne
rs s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D A
CTI
VITI
ES
RES
OU
RC
ES
Editi
ng T
echn
ique
s •
exam
ine
shot
and
sc
ene
trans
mis
sion
•
anal
yse
the
proc
ess
of
foot
age
capt
urin
g an
d se
quen
cing
•
anal
yse
cutti
ng ra
te
and
rhyt
hm
• an
alys
e us
e of
sou
nd
• Fo
otag
e ca
ptur
ing
and
sequ
enci
ng
• Sh
ot a
nd s
cene
tra
nsiti
on
• C
uttin
g ra
te a
nd rh
ythm
•
Use
of s
ound
• C
arry
ing
out f
oota
ge
capt
urin
g an
d se
quen
cing
•
Appl
ying
sho
t and
sc
ene
trans
ition
•
Appl
ying
cut
ting
rate
an
d rh
ythm
•
Appl
ying
sou
nd e
ditin
g
• Ed
iting
sui
te
• IC
T to
ols
Type
s of
Edi
ting
• ex
plor
e on
line
editi
ng
• ex
amin
e of
fline
edi
ting
• de
sign
effe
cts
• ex
amin
e fin
al m
ix
• an
alys
e vi
deo
rend
erin
g an
d ex
porti
ng
• Onlineediting
•
Offlineediting
•
Addi
ng e
ffect
s •
Fina
l mix
ing
•
Ren
derin
g an
d ex
porti
ng
• C
arry
ing
out o
nlin
e ed
iting
•
Car
ryin
g ou
t offl
ine
editi
ng
• Ap
plyi
ng e
ffect
s •
Car
ryin
g ou
t fin
al m
ix
• C
arry
ing
out r
ende
ring
and
expo
rting
Film
Syl
labu
s Fo
rms
5 - 6
29
30
TOPI
C: 9
AN
IMAT
ION
40
TOPI
C: 9
AN
IMAT
ION
TO
PIC
LE
ARN
ING
OB
JEC
TIVE
S Le
arne
rs s
houl
d be
abl
e to
:
CO
NTE
NT
NO
TES
AND
SU
GG
ESTE
D
ACTI
VITI
ES
RES
OU
RC
ES
Visu
alis
atio
n •
gene
rate
new
idea
s •
conc
eptu
alis
e an
imat
ion
stor
y
• St
oryt
ellin
g St
yle
• An
imationGenres:
-
Fant
asy
- Horror
- co
med
y
• R
esea
rchi
ng o
n an
imat
ion
Genres
• Sk
etch
ing
anim
atio
n co
ncep
t
• In
tern
et
• An
imat
ion
softw
are
• M
icro
phon
e •
Editi
ng
softw
are
An
imat
ion
Scrip
t •
writ
e an
imat
ion
scrip
t •
Anim
atio
n sc
ript
• Pr
oduc
ing
a sc
ript
• Pr
esen
ting
a sc
ript
Anim
atio
n ch
arac
ter
• de
velo
p an
ani
mat
ion
char
acte
r •
Cha
ract
er d
evel
opm
ent
• C
reat
ing
an a
nim
atio
n ch
arac
ter
e.g
-
Ap
peal
-
Car
toon
ic
-
re
alis
tic
Stor
yboa
rd
Dev
elop
men
t •
prod
uce
a st
oryb
oard
•
Stor
yboa
rd
• D
raw
ing
a s
tory
boar
d
Com
pute
r gen
erat
ed
imag
ery
(CG
I) •
crea
te a
cha
ract
er
usin
g an
imat
ion
softw
are
• D
igita
l cha
ract
er
•
Prod
ucin
g an
imat
ion
char
acte
r di
gita
lly
Cha
ract
er ri
ggin
g
• ad
d bo
nes
to a
n an
imat
ion
char
acte
r •
crea
te a
ctio
ns fo
r a
char
acte
r •
crea
te b
ackg
roun
ds fo
r a
char
acte
r •
crea
te s
cene
s fo
r an
imat
ion
• Bo
ne s
truct
ure
•
Cha
ract
er a
ctio
ns
•
Anim
atio
n ba
ckgr
ound
• An
imat
ion
scen
es
• R
iggi
ng a
nim
atio
n ch
arac
ter t
o fa
cilit
ate
bone
man
ipul
atio
n •
Cre
atin
g ac
tions
e.g
. -
wal
king
-
runn
ing
• Pr
oduc
ing
anim
atio
n ba
ckgr
ound
s •
Prod
ucin
g an
imat
ion
scen
es
Audi
o re
cord
ing
and
Lip
sync
ing
• re
cord
aud
io
• sy
nchr
onis
e m
outh
m
ovem
ents
with
aud
io
• So
und
•
Lip
sync
ing
• C
aptu
ring
Audi
o •
Man
ipul
atin
g m
outh
mov
emen
t w
ith a
udio
Ren
derin
g
• re
nder
sce
nes
in
prep
arat
ion
for e
ditin
g •
Ren
derin
g •
Mas
terin
g sc
enes
Film
Syl
labu
s Fo
rms
5 - 6
41
Editi
ng
• co
mbi
ne a
ll sc
enes
to
prod
uce
anim
atio
n •
Editi
ng
• Ed
iting
an
anim
ated
film
•
Addi
ng e
ffect
s an
d ba
ckgr
ound
m
usic
Fina
l out
put
•
expo
rt th
e fin
al
anim
atio
n in
diff
eren
t vi
deo
form
ats
• Ex
porti
ng v
ideo
• R
ende
ring
and
expo
rting
an
imat
ion
in d
iffer
ent v
ideo
fo
rmat
s
9.0
AS
SESS
MEN
T
ASSE
SSM
ENT
MO
DEL
9.
1 a)
AS
SESS
MEN
T O
BJE
CTI
VES
By th
e en
d of
the
Form
5 -
6 Se
cond
ary
Leve
l, le
arne
rs s
houl
d be
abl
e to
:
9.1.
1 de
mon
stra
te u
nder
stan
ding
of F
ilm P
rodu
ctio
n w
ithin
the
cont
ext o
f his
tory
and
cul
ture
in Z
imba
bwe
and
the
Wor
ld;
9.
1.2
disc
uss
the
role
of F
ilm P
rodu
ctio
n an
d An
imat
ion
as a
veh
icle
for h
uman
exp
ress
ion,
exp
erie
nces
and
inte
ract
ion;
9.
1.3
dem
onst
rate
abi
lity
to c
reat
e a
stor
y an
d pr
oduc
e a
film
scr
ipt
9.1.
4 a
dapt
diff
eren
t for
ms
of li
tera
ture
into
film
scr
ipts
9.
1.5
app
ly k
now
ledg
e of
pro
duci
ng a
nd p
rodu
ctio
n m
anag
emen
t; 9.
1.4
dem
onst
rate
com
pete
ncie
s in
scr
ipt i
nter
pret
atio
n an
d tra
nsla
tion
9.1.
5 cr
eate
and
des
ign
the
visu
al lo
ok o
f a fi
lm
9.1.
6 ap
ply
cam
era,
ligh
ting,
and
sou
nd te
chni
ques
9.
1.7
carr
y ou
t edi
ting
9.1.
8 cr
eate
and
pro
duce
an
anim
ated
film
9.
1.9
compileafilm/animationproductionportfolio
9.
1.10
id
entif
y ca
reer
role
s in
film
and
ani
mat
ion
prod
uctio
n;
9.2
SC
HEM
E O
F AS
SESS
MEN
T Fi
lm P
rodu
ctio
n w
ill be
ass
esse
d co
ntin
uous
ly fr
om F
orm
5 -
6 th
roug
h co
urse
wor
k an
d ex
amin
atio
n. L
earn
ers
will
be a
sses
sed
in th
e fo
llow
ing
area
s:
9.2
Cou
rse
wor
k
32
9.0 ASSESSMENT
9.1 a) ASSESSMENT OBJECTIVES
By the end of the Form 5 - 6 Secondary Level, learners should be able to:
9.1.1 demonstrate understanding of Film Production within the context of history and culture in Zimbabwe and the World;
9.1.2 discuss the role of Film Production and Animation as a vehicle for human expression, experiences and interac-tion;
9.1.3 demonstrateabilitytocreateastoryandproduceafilmscript9.1.4adaptdifferentformsofliteratureintofilmscripts9.1.5 apply knowledge of producing and production management;9.1.4 demonstrate competencies in script interpretation and translation9.1.5 createanddesignthevisuallookofafilm9.1.6 apply camera, lighting, and sound techniques 9.1.7 carry out editing9.1.8 createandproduceananimatedfilm9.1.9 compileafilm/animationproductionportfolio9.1.10 identifycareerrolesinfilmandanimationproduction;
9.2 SCHEME OF ASSESSMENT
Film Production will be assessed continuously from Form 5 - 6 through coursework and examination. Learners will be assessed in the following areas:
9.2 Course work
9.2.1 Practical
9.2.1.1 Writing a concept, synopsis, step outline , treatment and Script 9.2.1.2Scriptidentification,productiontreatment,resourcemobilisation,crewing,draftschedules,resource management, negotiations skills, evaluation skills, leadership, communication skills, marketing , originality, creativity and enterprise skills9.2.1.3 Pitching a script, director’s treatment, directing performance piece9.2.1.4Scriptbreakdownforproductionelements,costumeillustration,drawfloorplans,creativity9.2.1.5 Short list, storyboard, camera operations and lighting9.2.1.6 Record sound, create sound effects, edit sound9.2.1.7Footagecapturing,sequencing,scenetransition,offlineandonlineediting,renderingandexporting.9.2.1.8 Animation script, storyboard, sequencing, create graphic design, develop animation character, synchronizing.9.2.1.9 Film and animation criticism
9.2.2 Theory
9.2.2.1 Writing assignments9.2.2.2 Writing tests
Film Syllabus Forms 5 - 6
9.2.3 EXAMINATIONS
9.2.4 SPECIFICATION GRID
The guide below illustrates the relationship between the assessment objectives and components of the scheme of assessment
42
9.2.1 Practical 9.2.1.1 Writing a concept, synopsis, step outline , treatment and Script 9.2.1.2 Script identification, production treatment, resource mobilisation, crewing, draft schedules, resource management, negotiations skills, evaluation skills, leadership, communication skills, marketing ,originality, creativity and enterprise skills 9.2.1.3 Pitching a script, director’s treatment, directing performance piece 9.2.1.4 Script breakdown for production elements, costume illustration, draw floorplans, creativity 9.2.1.5 Short list, storyboard, camera operations and lighting 9.2.1.6 Record sound, create sound effects, edit sound 9.2.1.7 Footage capturing, sequencing, scene transition, offline and online editing, rendering and exporting. 9.2.1.8 Animation script, storyboard, sequencing, create graphic design, develop animation character, synchronizing. 9.2.1.9 Film and animation criticism 9.2.2 Theory 9.2.2.1 Writing assignments 9.2.2.2 Writing tests 8.2.3 EXAMINATIONS
Title Duration Marks Weighting (%) Paper 1: Structured paper Section A: Structured questions Section B: Essays questions
3 hours
100
30%
Paper 2: Practical Demonstration
10- 15 minutes
70
40%
Continuous assessment
30
30% Total for paper 1 and 2 200 100%
43
8.2.4 SPECIFICATION GRID The guide below illustrates the relationship between the assessment objectives and components of the scheme of assessment
ASSESSMENT OBJECTIVES
Components HistoryofZimbabwean film and cultural Dynamics
Script writing
Producing Directing Production design
Cinematography
Sound Editing
Animation
A. 10% 15% 10% 15% 10% 10% 10% 10% 10% B. 10% 15% 10% 15% 10% 10% 10% 10% 10%
C. 10% 15% 10% 15% 10% 10% 10% 10% 10% Paper Description Paper 1 This component has two sections.
• Section A-Structured (40marks) consists of five structured questions. Each question carries 8 marks. Candidates are expected to answer all questions in this section writing their responses on the question paper.
• Section B- Essays questions (60 marks). This paper consists of 5 essay questions. Candidates are expected to choose any 3 questions. Each question in this section carries 20 marks. Candidates are expected to write their responses on separate paper provided.
Paper 2
• Practical Paper-(100 marks). This component consists of 3 practical tasks which are based on the 3 production stages (pre-production, production and post-production) of film or animation. Candidates are expected to choose any 1 task which they are expected to practically demonstrate within 10-15 minutes. Examiners are expected to assess the candidate using a check list.
Specific Grid
Skill Paper 1 Paper 2 Knowledge and understanding 30 15 Comprehension 30 15 Application and analysis 20 20 Synthesis and evaluation 20 30
Paper Description
Paper 1
This component has two sections.• SectionA-Structured(40marks)consistsoffivestructuredquestions.Eachquestioncarries8marks.Candidates
are expected to answer all questions in this section writing their responses on the question paper. • SectionB-Essaysquestions(60marks).Thispaperconsistsof5essayquestions.Candidatesareexpectedto
choose any 3 questions. Each question in this section carries 20 marks. Candidates are expected to write their responses on separate paper provided.
Paper 2
• PracticalPaper-(100marks).Thiscomponentconsistsof3practicaltaskswhicharebasedonthe3productionstages(pre-production,productionandpost-production)offilmoranimation.Candidatesareexpectedtochooseany 1 task which they are expected to practically demonstrate within 10-15 minutes. Examiners are expected to assess the candidate using a check list.
33
Film Syllabus Forms 5 - 6
43
8.2.4 SPECIFICATION GRID The guide below illustrates the relationship between the assessment objectives and components of the scheme of assessment
ASSESSMENT OBJECTIVES
Components HistoryofZimbabwean film and cultural Dynamics
Script writing
Producing Directing Production design
Cinematography
Sound Editing
Animation
A. 10% 15% 10% 15% 10% 10% 10% 10% 10% B. 10% 15% 10% 15% 10% 10% 10% 10% 10%
C. 10% 15% 10% 15% 10% 10% 10% 10% 10% Paper Description Paper 1 This component has two sections.
• Section A-Structured (40marks) consists of five structured questions. Each question carries 8 marks. Candidates are expected to answer all questions in this section writing their responses on the question paper.
• Section B- Essays questions (60 marks). This paper consists of 5 essay questions. Candidates are expected to choose any 3 questions. Each question in this section carries 20 marks. Candidates are expected to write their responses on separate paper provided.
Paper 2
• Practical Paper-(100 marks). This component consists of 3 practical tasks which are based on the 3 production stages (pre-production, production and post-production) of film or animation. Candidates are expected to choose any 1 task which they are expected to practically demonstrate within 10-15 minutes. Examiners are expected to assess the candidate using a check list.
Specific Grid
Skill Paper 1 Paper 2 Knowledge and understanding 30 15 Comprehension 30 15 Application and analysis 20 20 Synthesis and evaluation 20 30
44
Practical skills - 30 Total 100 100
34
Film Syllabus Forms 5 - 6
