1. NAME OF THE PROGRAMME: B. Sc. Film Production


To be admitted into B. Sc. Film production, the candidate is required to meet at least one of the following:


100 Level

Five Ordinary Level (O/L) credit passes including English Language, Literature in English, Mathematics and any other two of arts or social sciences subjects at SSCE, GCE, NECO or NABTEB at not more than two sittings. 


200 Level

National Diploma (ND), National Certificate of Education (NCE), or Higher National Diploma (HND) in Film Production, Theater and Performing Arts or any other relevant course from recognized institutions with a minimum CGPA of 3.0 on a scale of 5points or its equivalent. In addition, the candidate must have 5 credit passes at the Ordinary Level including English Language, Literature in English and Mathematics. Candidates with GCE ‘A Level’ are no longer considered for direct entry into any Mass Communication discipline because of the subject combinations and lack of professional foundation in advanced level subjects.  Such candidates are advised to take 100-Level admission.


4.1    Waiver

Granted the fact that this NOUN ODL programme is essentially for mature adults and people who missed the opportunity of getting access to education earlier in life, there is need to request for waivers in the admission requirements.


4.2 Concession: Matured Candidates, 50 years of age and above, with ten (10) years of cognate work experience who fail to meet any of the above requirements may apply for admission to the Four Year programme.


4.3. Graduation Requirements and Credit Distribution

The graduation credits required are 146 for 100-Level admission, and 120 for Direct Entry students, as indicated in the table below:




Year 1


Year II


Year III


Year IV





To produce professionals who, through the accessible and flexible ODL system of education will make meaningful contributions to the development of Nigeria and the global Community through the entertainment industry. Over the past 40 years the study of Film - how they are produced, the language and aesthetics of cinema, how the audience engage with Film, varieties of Film genres, the relationship of Film to the wider cultural process, has become extremely popular. The B.Sc. (Hons) Film Production programme of the National Open University of Nigeria (NOUN) aims at producing students with both the general foundation knowledge of film production, as well as critical analyses of film aesthetics, through exposing students to film cultures and tradition in Africa, Americas, Europe and Asia. This is to be achieved by equipping them with a broad foundation in the general field of Communication as well as specialized knowledge in this particular sequence of the programme; prepare them to meet the human resources needs of a developing society and to accomplish a cost effective lifelong learning.


5.1. Vision

To be regarded as the foremost University providing highly accessible and enhanced quality education anchored by social justice, equality and national cohesion through a comprehensive reach that transcends all barriers.



The B. Sc. Film Production is designed to provide the students with an understanding of the principles of film production and an opportunity to develop techniques in scriptwriting, film production, directing and marketing.


6.1 Aims

It is the overall goal of this course to provide professional and internationally accredited training facilities for Nollywood practitioners living anywhere in the country, on one hand, and teeming young people who might wish to professionally enter the film industry on the other, right from just after secondary school age. Thus this course has the added social focus of providing opportunities for greater employment of young people in Nigeria, to enable them to fit in, integrate, and use their skills in any film industry in Nigeria, Africa and the rest of the world, as well as create wider awareness of the Nigerian film cultures.


6.2 Objectives

By the end of this degree program, students would

  • Be employable in the creative industries of film, television and online media
  • Have met and collaborated with likeminded storytellers
  • Have explored their creativity through storytelling
  • Be technically skilled and talented in many aspects of production and post-production of film.
  • Have a show-reel consisting of short film, factual and episodic productions that demonstrates their screen storytelling
  • Become competent film business marketers with a high ability to source funds for film projects and effectively market the products to the rest of the world.
  • Have gained ability to reinforce the Nigerian cultural heritage in films that would be marketed to the world
  • Acquire a sense of co-operation and collaboration with clusters of industry practitioners (Nollywood, Kanywood, Yoruba and Igbo film industries).





 7.1      Outline of Course Structure:

B. Sc. Film Production shall run for a minimum of 8 semesters and a maximum of 16 semesters for students entering at 100-Level; a minimum of 6 semesters and a maximum of 12 semesters for direct entry students.







University Wide Courses


CIT 101

Computer in Society


CIT 102

Software Application Skills


GST 101

Use of English & Communication Skills I


GST 102

Use of English & Communication Skills II


GST 105

History & Philosophy of Science


GST 107

The Good Study Guide






Departmental Core Courses


FMC 111

Introduction to Film Theory


FMC 112

Fundamentals of Visual Communication


FMC 113

History of Nigerian Films & Cinemas


FMC 114

Analysing the Screen Story


FMC 115

Introduction to Film Technology


FMC 116

Elements of Film Production


FMC 118

Introduction to Directing


MAC 115

African Communication Systems I


MAC 116

African Communication Systems II






Electives (Choose minimum of 8 credits)


FMC 131

Introduction to African Popular Culture


FMC 132

Media, Culture and Films


CSS 111

Introduction to Sociology


ENG 113

Introduction to Nigerian Literature I


ENG 114

Introduction to Nigerian Literature II



Total Number of Units







University Wide Courses


GST  203

Introduction to Philosophy and Logic


GST 202

Fundamentals of Peace Studies and Conflict Resolution






Departmental Core Courses (22 credits)


FMC 211

Films and Cinema Censorship


FMC 212

Visual Language of Film


FMC 214

Writing TV Series


FMC 215

Principle of Sound Recording & Editing in Film


FMC 216

West African Cinema


FMC 217

Films and Aesthetics Theory


FMC 221

Fundamentals of Scriptwriting, Directing and Acting


FMC 222

Film and TV Management


FMC 223

Film Adaptation


FMC 224

Visual Style and Visual Effects






Electives (Choose minimum of 8 credits)


FMC 231

Writing Film Reviews


FMC 232

Nigerian Society and Film Scriptwriting


FMC 233

Docudrama, Improvisation, Web Drama


ENG 223

Advanced English Composition 1


ENG 224

Advanced English Composition II



Total Number of Units







University Wide Courses


GST 301

Entrepreneurship Studies I






Departmental Core Courses)


FMC 311

Film Production Management


FMC 312

Film Analysis and Criticism


FMC 313

Costume and Makeup in Cinema


FMC 314

Film Budgeting


FMC 315

Digital Video Cinematography


FMC 316

Research & Critical Methodologies in Film


FMC 318

Internship: Attachment to Film Production Company


FMC 321

Advanced Screenwriting


FMC 322

Soundtrack Music in Films


FMC 323

Production Design


FMC 325

Issues in Nigerian Films and Cinema


MAC 324

Film Cinema and Literature






Electives (Choose minimum of four units)


FMC 331

Arab Cinema


FMC 332

European Cinema


FMC 341

Beyond Bollywood


FMC 342

East Asian Cinema



Total Number of Units






Departmental Core Courses


FMC 411

Ethics in Films


FMC 413

Emerging Global Themes in Film Production


FMC 415

Film Portfolio


FMC 418

Research Project


FMC 421

Cross-cultural Screen Analyses


FMC 422

Advanced Directing


FMC 423

Acting for the Camera


FMC 424

Digital Editing and Post-Production


FMC 425

Documentary Cinema


FMC 426

Film Marketing


FMC 427

Sound Design






Electives (Choose minimum of four units)


FMC 434

Women in Films


FMC 435

Transmedia Storytelling and the Cinema


FMC 436

The Politics of the Image


FMC 437

Children’s Cinema



Total Number of Units




7.2 Degree/Graduation Rules.

To be eligible for the award of B.Sc. in Film Production, the student must pass a minimum of 120 credits units which includes elective courses for an 8-semester structure; and 90 credit units including elective courses for a 6-semester structure. Students must earn CGPA of not less than 1.0 to graduate. They must equally meet other requirements as prescribed by the Department, Faculty and Senate.





7.3 Summary of Distribution of Course Credits by Level

(a) 100 Level Admissions/Entrants


GST and Other General Courses

Subject Specialization Area & Electives




Compulsory   Elective (min)




18                         08




22                          08




33                          04




31                          04




104                         24



100 Level Entry Students are expected to earn 104 Credit Units (CU) of Compulsory Courses and at least 24 CU for Elective Courses for 8 semester course structure with CGPA of not less than 1.0. (104 + 24= 128)

NOTE: Students are required to pass at least one elective course in a semester. They must also pass the sum of 18 units of GST Courses as specified by the Senate.


 (b) Direct Entry Admission/Entrants


GST   and Other

General Courses







Elective (min.)



























Direct Entry Students are expected to earn 86 Credit Units (CU) of Compulsory Courses and at least 16 CU of Elective Courses for 6 semesters course structure with CGPA of not less than 1.0. (86 + 16= 102)

NOTE: Students are required to pass at least one elective course in a semester. They must also pass 18 units of GST Courses as specified by the Senate.



Given the fact that the programme, B.Sc. Film production is not provided for in the NUC Benchmark, the available DPPs in Filmmaking from three different Nigerian University were reviewed and it served as the basis for the development of the DPP B.Sc. in Film Production. 


University Wide Courses

    1. GST 101: Use of English & Communication Skills I
    2. GST 102: Use of English & Communication Skills II
    3. GST 105: History & Philosophy of Science
    4. GST107:  The Good Study Guide
    5. CIT 101: Computers in Society
    6. CIT 102: Software Application Skills
    7. GST 202: Fundamentals of Peace Studies and Conflict Resolution
    8. GST 203: Introduction to Philosophy and Logic
    9. GST 301: Entrepreneurship Studies


These are compulsory University courses.  Course descriptions are available from the necessary University unit.


100-Level Core Courses

FMC 111:  Introduction to Film Theory

This course approaches the “big questions” that have surrounded film and the moving image and puts them into historical context. Although specific topics will vary, representative topics may address competing definitions of film and its constitutive elements, the effects that cinema has on spectators, the social, cultural and political implications that moving images reproduce, and the status of the medium between art and entertainment. Students will debate seminal writings on the nature of film and bring their arguments to bear on exemplary film productions. Beginning with the development of documentary film, students study the genre’s history, various styles and techniques and its contribution as a persuasive means of communication to achieve social and political goals. Through consideration of major directors, aesthetics and social contexts, students are challenged to develop a critical eye and to deepen their appreciation of the documentary vision.


FMC 112: Fundamentals of Visual Communication

This course examines the principles and methods of visual representations that are more readily understandable, supporting perception, cognition and usability. Design, being an extremely expansive field, includes experts with highly specialized skills. While excelling in their respective areas, many lack the basics of good visual communication design, relying on commonplace or trendy graphic design expressions. Yet being able to communicate ideas that don’t yet exist is a key part of bringing them to life. This course intends to address this gap and develop this essential skill of any advanced designer. In addition to the basics of visual communication, this course also introduces the idea of balancing the needs of the communicators and the qualities of the topic/offering to guide appropriate choices for visual representation


FMC 113: History of Nigerian Films & Cinemas

Nigerian cinema, unlike cinema from Francophone countries, was left to develop on its own, without enjoying state patronage. Due to this lack of patronage, it developed into a video film industry, which became labeled ‘Nollywood’. This course traces the history of celluloid-era Nigerian cinema, its transformation into video film industry and the emergent characteristics of Nollywood film. The course will end with an analysis of ‘New Nigerian Cinema’, which thanks to the efforts of a number of players broaden the horizons of Nigerian film beyond the tightly-budgeted, mass-produced and very mixed-quality fare associated with the Nollywood industry. The course will also present a survey of the evolution of film as a distinct medium of communication and as an art form. It will study notable creative pioneers of the art form and their contributions, as well as the relationship of film to other media.


FMC 114: Analyzing the Screen Story

Students are introduced to the methodologies and structural analysis employed when conceiving and developing a verbal and written pitch for a screen story. Students gain the foundation for further studies in screenwriting as well as the basic interpretative skills required of all craftspeople in narrative film production.


FMC 115: Introduction to Film Technology

This course introduces students to the theoretical and practical aspects of complex systems and equipment employed in production in both studio and location situations.  It includes an examination of the entire sequence of production and post-production processes and the equipment and systems employed.  The course examines synchronous and non-synchronous systems in both shooting and post-production.  It also introduces the practices and technology of the convergence of film, video and computer-based production technology.


FMC 116: Elements of Film Production

This course is designed to familiarize students with the technical apparatus of film making It takes the students through the broad process of film production starting with pre-production, production and postproduction. It will analyze the camera, microphones, lighting systems, sets and different types of shots. Focus will be on the storyboard and composition with regard to territorial space, open and closed forms as well as lighting, sound, music, special effects and skills and qualities of the film producer. The course will also discuss the techniques of cinematography and film structuring.


FMC 117: Introduction to Directing

This introductory course will focus on that thread that leads from understanding the basis of acting to directing actors in front of the camera.  It will focus on the techniques of casting and rehearsing scenes and other short pieces with actors to create great performances.


MAC 115:  African Communication Systems 1

The concept of communication:  African communication systems: The traditional channels of communication in Africa: Classifications and comparisons:  Types of communication- visual, iconographic, instrumental etc. 


MAC 116: African Communication Systems II

Folk Media: Folklore &, Proverbs & Parables: Verbal & Non-verbal Communication: Extra mundane/Esoteric communication: The juxtaposition of Modern & Traditional modes of Communication



100-Level Electives Courses


FMC 131: Introduction to African Popular Culture

This course focuses on the evolution of contemporary popular culture in modern African societies and how such popular cultures feeds into each other. Students will explore the various genres of popular culture, particularly film, music, literature and art.


FMC 132: Media, Culture and Films

This course will explore the intersections that exist between film, media, and culture through a specific focus on the intersections between cinema and the broader social, scientific, and political concerns of global environmental change.  By combining readings in the field with a range of Hollywood and transnational film texts we will discuss how films work to create textual space that both masks and unmasks real world environmental issues. Through screenings, readings, lectures, discussions, group presentations, and written assignments, students will learn how to analyze the cultural, historical, industrial, and aesthetic dimensions of film and media.



200-Level Departmental Core Courses

FMC 211: Films and Cinema Censorship

Censorship has been a part of the global cinematic landscape since the inception of film as an industrialized art form in the 1890s. Importantly, censorship has been wielded as a tool to construct, reinforce, suppress, and erase various cultural modes and expressions. As such, this course will trace the role of censorship in film and the ways in which censorship has come to play a critical role in the cultural function of films. Examining a series of films banned across the globe, the course will address the ways in which film has become a battleground in the “culture wars” around sex, political ideology, gender, race, revolution, class, violence, and pleasure.


FMC 212:  Visual Language of Film

In this course, student directors and cinematographers examine the theory and practice of mise-en-scène, the director’s practice of arranging everything that is seen by the camera and determining how it is depicted. Students will develop a creative process and methodology to their handling of mise-en-scène, enabling them to depict realistic screen action and convey emotion within a coherent visual style. Students serve as crew and actors in each other’s exercises on a weekly basis and, in the process, deepen their understanding of the staging of action, screen performance and set etiquette. At the same time, student directors and cinematographers develop the communication and collaboration skills required to work effectively together in a professional context.


FMC 214: Writing TV Series

The purpose of this class is to enable students to study scripted television from the professional's point of view. The course involves critical analysis of successful scripted television shows, their narrative structures and themes. Programs of various genres and eras will be examined. Students will learn how to recognize basic structural elements in finished episodes. Students will develop a language with which to discuss television as well as a toolbox of techniques to use when creating television. Key concepts to be discussed include: basic structure, types of shows, genres of shows, character tropes, means of creating and sustaining tension, themes and advancements in form. Students will analyze and discuss some of the most important and influential shows in television history. Students will learn all about the writer-centric form of scripted television, where it's been and where it's heading. Students study serials and procedurals, network and cable shows, principal leads, partnerships and ensembles, comedy and drama, prevalent themes, innovations in content and form, the impact of DVR, and the impact of the internet.


FMC 215: Principle of Sound Recording and Editing in Film

Students are introduced to sound for media through analysis and examination of aesthetics, production technology and fundamental production techniques. In the audio concepts component, students study rudimentary physics, philosophies and perceptions of sound as they apply to successful audio production; develop basic listening skills and vocabulary essential to producing sound for picture, and are introduced to the key roles in the sound production environment of collaborative creativity. In the audio technology and techniques component, students develop the fundamental skills necessary for recording aesthetically pleasing and technically superior location recordings, learning the design and application of various microphones and their interfacing with contemporary digital sound recorders, cameras and sound recording, editing and mixing software.


FMC 216: West African Cinema

The goal of this course is to highlight how people of African descent are expressing their heritage, identity and vital issues through cinematic images worldwide. The course will provide an in-depth analysis of films from across the broad spectrum of the African Diaspora in order to capture their richness and diversities in terms of aesthetic, political, social and cultural significance. The course will critically analyze the historical development of films from mainly Francophone African Directors such as Ousmane Sembène, Gaston Kabore, Mahmet Saleh Harun, Souleiman Cisse, and Idrissa Ouédraogo.


FMC 217: Films and Aesthetics Theory

Motion pictures began as simple films of everyday activities, capturing ordinary events to show the capabilities of this new medium. Soon, however, visionaries discovered that motion pictures could be much more than static camera shots of workers leaving a factory. Early in the history of cinema, filmmakers exploited the aesthetic, political, and economic advantages of the film medium. This triptych of functions probably explains why so many different terms--motion picture, cinema, documentary, film, and movie--have been used to describe the presentation of single-framed, sequential images that move through a machine so rapidly that they create the illusion of movement on a screen. It will also critically analyze the motion picture art form. It develops an understanding of film as a complex cultural medium through the discussion of key theoretical and critical approaches. Theoretical and critical approaches discussed may include: realist theory, genre criticism, auteur theory, structuralism, feminist theory, and journalistic criticism. More emphasis will be placed on how the artistic modes and theories situates the filmmaker, the work, and the audience. The auteur filmmaker exhibits an unparalleled degree of control over the creative process, such that the body of work is uniquely identifiable to the auteur through notable conventions of aesthetics, style, theme, content, atmosphere, etc. In this course, we will consider the auteur tradition through case studies of different famous Hollywood, West African, and East Asian directors.


FMC 221: Fundamentals of Script Writing

The course is designed to enable students to understand the nature of the film script. To this effect, the importance of pre-visualization will be emphasized, particularly the content outline and treatment of the screenplay. Instruction by lecture will be accompanied by practical exercises in scripting and evaluation.


FMC 222: Film and TV Management

This course examines the nuts and bolts of Film and Television production, specifically from the Studio, Network, and Line Production perspective. The syllabus follows the common practices and protocols of the Industry from Pre-Production, through Production and Post-Production, including discussion of the tangential marketing and distribution business sectors as they relate to Production Management. In addition to lecture and discussion format, the class will include participation by guest speakers to cover specific areas of domain expertise. Finally, the course will cover some of the best practices and personal development guidelines that relate to the unique business culture of entertainment, including some historical perspective


FMC 223: Film Adaptation

The course will examine the source texts and film adaptations of works drawn from a variety of print genres, including short stories, a novel, a novella, and a modern play. Each pair of works, a source and its film adaptation, will provide an illuminating case study, and taken together, the works selected demonstrate both close and loose adaptations, “classic” and recent film productions, and a wide range of approaches to adaptation. Nearly half of the films you have ever seen are adaptations, and historically, three-fourths of the Academy Award winners for Best Picture have been adaptations.


FMC 224: Visual Style and Visual Effects

This course is designed to introduce the student to the art and science of visual effects for broadcast and digital filmmaking. Topics address simulation of natural environmental effects, realistic compositing of pyrotechnic footage, motion tracking and match-moving. The focus will be centered on industry standards and procedures for planning, creating and applying such effects. Building upon the cinematography skills acquired in previous courses, students also explore how to use these skills to express a personal visual style in the form of a short film (dramatic, documentary, experimental, essay). Students work in seminar style on a one-to-one basis with the instructor developing their visual concepts towards a fully realized film.



200-Level Elective Courses


FMC 231:  Writing Film Reviews

This course enables students to understand films by critiquing various film. In this way, they will develop a sense of balance in watching films as well as making their own films.


FMC 232: Nigerian Society and Scriptwriting

This course investigates the cultural anthropology of Nigerian societies and determine the extent to which various folklores and lifestyles could be used as a basis for creating stories for films. It is a heavily immersive course and will rely on student experiences in their various communities that tell various stories and how these stories could be developed into scripts for short films.


FMC 233: Docudrama, Improvisation, Web Drama

Students expand their knowledge of short-film writing into specialized contemporary short film genres/processes: docudrama, script development with actors and drama for the web. Students research and screen relevant short films in their area(s) of interest, deconstructing them to determine their demands, conventions and features. They then use this analysis as a guide in developing a pitch for their up-to-seven-minute screenplay, building a story which is not only original and in line with their own thematic preoccupations, but which satisfies the unique demands of their chosen genre/process. Students may develop their idea through step outline and draft or work on two projects from different genres to the step outline stage only.



300-Level Departmental Core Courses

FMC 311: Film Production Management

This course will introduce students to the theory and practice of managing film production with an emphasis on the Hollywood industrial model. Topics covered will include budgeting, script breakdown, scheduling, location scouting, and crew procurement, among others. It also teaches students managing above-and below-the-line film or video production costs. 


FMC 312: Film Analysis and Criticism

In this class students use film as an object for cultural and critical analysis. Students produce a variety of writing assignments for professional, critical and academic purposes.  We analyze and evaluate the process and products of filmmaking to better appreciate and express our understanding of movies and their cultural influence.   Students participate orally and online in film viewing and critique. Major writing assignments include informal responses, reviews, critical essays and a final researched essay.


FMC 313: Costume and Makeup in Cinema

This course lays the groundwork for all future makeups. Students are introduced to the fundamentals of corrective application and product and equipment choices, while also developing their “eye” or ability to discern the needs of each particular performer. The basics of facial anatomy, in terms of bones and muscles specifically, help students build a better understanding of the system that supports the canvas on which they work – in this case, the skin.


FMC 314: Film Budgeting

In this course students learn the process of developing a low budget film. Translating a minimum budget into the maximum quality on screen is the main focus of this course. Topics include setting up a production company, financing and development, pre-production planning, production techniques, post-production workflow and distribution. Students will prepare a producer's breakdown and production budget for a micro budget screenplay.


FMC 315: Digital Video Cinematography

This course focuses on advanced digital video cinematography techniques for both studio and field. Students will operate HD video cameras, use lights, determine set and lighting needs, roll and need of a jib, block scenes and become familiar with topics including film space, continuity, lenses, color, filters and camera control.


FMC 316: Research & Critical Methodologies in Film

This course introduces students to methods of advanced research in film studies, with a focus on questions of film history. Topics covered by the course include: the variety of ways in which film history has been written; the status of films in film historiography; the limits and possibilities for contextualizing films relative to aesthetic, psychological, economic, technological, and social conditions and forces; and the documentation used in making film-historical claims, which can include film reviews, trade press reportage, drafts of scripts, interviews with filmmakers, correspondence, censorship records, and so on. The course will also provide an overview of the concepts, methods, and tools by which communication research is designed, conducted, interpreted, and critically evaluated.


FMC 318: Internship Attachment to Film Production Company

This course provides students with an opportunity to gain field experience in film organizations. Each student’s internship is a variable – time assignment in the profession. Students must select an organization and make direct contact with the internship coordinator at the organization to secure an internship.


FMC 321: Advanced Screenwriting

This advanced course analyzes the theory and practice of motion picture storytelling as it influences the structure and meaning of film – including analysis of shot selection and camera movement and exercises in film aesthetics with camera, light, and grip equipment.  This course will introduce students to the advanced features of film screenwriting. We will explore the basic theory and formal aspects of story structure, character development, use of conflict, scene writing and dialogue. We will then apply these basic dramatic principles to the development of your own original material. Since much of the work of screenwriting is done before the actual drafting, this class will focus on the process of screenwriting: from the initial premise, through character exploration, to treatments and step-outlines, then writing your first draft. With the help of your peers in workshop, you will leave this course with a solid understanding of the advanced aspects of screenwriting.


FMC 322: Soundtrack Music in Films

This course focuses attention on the historical and aesthetic survey of the styles, trends, and important figures in the development of narrative film music, from the invention of moving pictures to the present day. The course will also include a discussion of the technical process of creating film music, as well as (if time allows) a review of popular music in film.


FMC 323: Production Design

Production Design is an examination of the role of   the production designer and art director in motion pictures, television or new media. Students will learn what production design brings to the narrative storytelling process and how to identify this while watching a film or television show.


FMC325: Issues in Nigerian Films and Cinema

This course will expose students to critical analysis of significant events, issues and personalities that have featured and characterized the Nigerian films industry from the political, social and economic points of view:   An overview of the dynamics of the Film industry in Nigeria and the situational roles of the actors and actresses, directors and producers. The course will also expose students to critical issues that characterised the industry ranging from copyright, pornography religions and children, violence and children, cultural infiltration, public love and hatred for the actors and actresses, economic perspective, legal discuss, educational influence etc. 



300-Level Elective Courses


FMC 331: Arab Cinema

Arab cinemas are diverse with distinct trajectories and aesthetics. This is not only because the countries where the films originate are a heterogeneous mix of populations with different cultural and ethnic backgrounds. The region’s film production practices have also been diverse ranging from a strong commercial industry in Egypt to a centralized socialist model in Algeria. The yearly production volume has been anywhere between just a handful in most countries to about 50 in Egypt. In spite of this diversity, by covering the major film producing regions this course aims to introduce students to a range of cinemas and to relate them to their various and sometimes convergent historical, political, economic, social, cultural, and artistic contexts. The course will concentrate on cinemas of Egypt, the Maghreb (Morocco, Algeria, Tunisia) as well as Palestinian films. It will examine major moments in the history of these cinemas and the political developments that have inevitably had a major influence on filmmaking in the region.


FMC 332: European Cinema

This course examines the changing landscape of national and regional cinemas of Europe from the 1980s to the present, including the advent of the MTV-influenced cinéma du look movement in France and the neorealist, indie-inspired filmmaking in the Balkan and former Soviet states. The contested (re)definition of what now encompasses “European cinema” is a defining undercurrent of the course. The key inquiries into this subject serve to promote: 1) an understanding of cultural, historical, industrial and theoretical frameworks that both corroborate and problematize media representations of Europe and Europeaness 2) alternative and divergent perspectives on European cinemas not widely considered before and 3) contextual knowledge of these cinemas’ formation, ‘work’ and transformation on both local and global levels.


FMC 341: Beyond Bollywood: Commercial Hindi Cinema in the late 20th Century

This course will consider Hindi cinema from the middle of the 1970s to the current age. While we will watch films basically according to their chronological order, this course is not necessarily conceived of as an “Intro to Bollywood film” class. The objective will be to engage critically with the very concept of a “Bollywood” film and its growing valorization by various invested participants throughout the final decades of the twentieth century, from those who make them, to those who write about them and those who consume them. Some of the issues that we will explore through both the films that we watch as well as the weekly readings will be our understanding of the importance of the relationship between cinema and the “nation”, cinema as a social phenomenon in South Asia and in the diaspora, the division between art cinema and commercial cinema and the recent valorization of commercial cinema by the intellectual establishment, our understanding of the relationship between the globally dominant form of cinematic production in the US and “local” variants such as Bollywood, an understanding of ideas relating to formula and melodrama, the relationship between cinematic pleasure and commercial exigencies and finally how to think about film in the social world. This course seeks to push beyond the current fascination with “Bollywood” cinema to understand better the investment that we all make in this particular form of culture-commodity.




FMC 342: East Asian Cinema

On completion of this module, students should be able to have an introductory understanding of the different new wave cinemas emerging from East Asia since the 1980s, including the fifth and sixth generation directors from China, Taiwan new cinema, the Hong Kong new wave, and contemporary Japanese and South Korean cinemas. The module aims to examine, in particular: questions of aesthetics and genres as they relate to these East Asian cinemas; the social, cultural and political contexts for negotiating issues ranging from history, nationalism, geopolitics, globalization to urban culture, gender and sexuality; and the contexts for the global reception of these films, from production, exhibition and distribution to issues of Orientalism and post colonialism.



400-Level Departmental Core Courses


FMC 411: Ethics in Films

A critical study of ethical approaches to film, through an examination of cinematic narratives, directorial intentions and audience responses to selected films. A chance to study the ethical significance of films by directors such as Peter Weir, Andrei Tarkovsky, Francis Ford Coppola, Ingmar Bergman, Woody Allen, Carl Dreyer, and Luc Bresson. Themes covered include: Voyeurism and Entertainment, Violence and Peace, Revenge and Forgiveness, Truth and Reconciliation, Life and Death, Good and Evil, Sex and Love, Doubt and Faith, Heroism and Community, Fantasy and Reality.  Students will be encouraged to consider these themes in making their own films.


FMC 413: Emerging Global Themes in Filmmaking

This dynamic and fluid course explores the trends that reflect global film industries by mapping the most common themes filmmakers capture to reflect the human condition. It relies heavily on film viewings of both art and commercial films of all genres and in all film cultures to enable students have a clearer idea of how to pitch their own films within global best practices in filmmaking.


FMC 415: Film Portfolio (15 min Short)

This practical course orients students to creating their own short 15 min film in any category they chose. The language of the film must be in English. Students are free to choose their themes. The CD of the film portfolio will be well labeled and submitted for assessment.


FMC 418: Research Project

This is a standard written dissertation that demonstrates the students’ understanding of research methodology as it applies to filmmaking. However, students can also present a feature/documentary film of 45 minutes as their Research Project. Students who chose to present a film as Research Project must present both CD of the film and a Hard and soft copy of the film script.



FMC 421: Cross-cultural Screen Analysis

A back to back analysis of Hollywood, Bollywood, Nollywood, Chinese film industry, Philippine Filming techniques – script and production.


FMC 422: Advanced Directing

An advanced class over Directing I, this course will explore in detail the role of the film director.  It will be examined and presented in depth through a series of short video projects, acting exercises and lessons in scene analysis.  There will be focus on artistic and technical craft of script analysis, rehearsal, blocking, developing storyboards and shot list, director’s collaboration with production crew, working with actor(s) on set.


FMC 423: Acting for the Camera

This course prepares the student for the particular demands and challenges of acting on camera. This course also includes exposure to and hands-on experience in the technical aspects of the behind-the-camera process in capturing an actor’s on-camera performance.  This course will also explore the related business aspects of pursuing an on-camera acting career.


FMC 424: Digital Video Editing and Post-Production

This course introduces students to the process of editing digital video and audio using Adobe Premiere Pro (PC) and Final Cut Pro (Mac OS) software. The course teaches students how to import digital video, combine video clips by means of cuts and transitions, add titles to video sequences, and output the finished product to disk. Students will also also become acquainted with some of the basic principles of editing and visual storytelling. Further, through lectures, demonstrations, and hands-on exercises, students master the basic terminology, principles, and skills of digital post production, with an emphasis on nonlinear video editing. Fundamentals of visual storytelling—including continuity, pacing, and dramatic structure—are emphasized


FMC 425: Documentary Cinema

This module addresses a series of documentary films in their historical context and in relation to the different modes of non-fiction filmmaking. Documentary narrative techniques including the use of archival footage, staged reconstructions of past events, and talking-head interviews, are investigated by means of close textual analysis and through a comparative approach to diverse documentary films. This module also explores the boundaries between fiction and non-fiction and, while articulating a definition of documentary film, it studies film forms that present interplay between the two, such as Mockumentaries and Essay Films


FMC 426: Film Marketing

The course will discuss the application of advertising theory to the promotion or marketing of a film. It will review the art and science of marketing film/cinema and problems and possible solutions in film marketing


FMC 427: Sound Design

This module introduces you to the principles of sound design for the moving image. It will provide the conceptual and practical tools that enable you to design and realize imaginative soundscapes for film.





400-Level Elective courses


FMC 434: Women in Films

This course is an introduction to Women in Film in an international perspective. The course will examine selected films with regard to the representation of women on screen; women’s filmmaking as critical practice; and issues in feminist film theory and criticism. The course includes perspectives on Hollywood cinema and independently produced American and international films. Students will learn how to analyze films from the particular perspective of representation of women.


FMC 435: Transmedia Storytelling and the Cinema

In this course, students explore the changing roles of creator and audience in the context of today’s new digital media technologies. A historical survey of digital media theory and technology development allows students to compare digital media with traditional media, highlighting how onscreen, physical interfaces allow creators to expand audience participation and engagement. Students work in teams to create proposals for narratives that utilize a variety of platforms (film, television, internet, game, mobile/smart phone [or PDA], or tablet computers) to enhance and expand the audience experience. The creative challenge is to develop planned, cohesive narratives in which different elements unfold through the idiosyncrasies of each intended platform. It will also examine different forms of narrative and story-telling in cinema, drawing upon theories of myth, folk and fairytale as well as upon anthropological studies of oral storytelling in order to place film narration within the tradition of the ‘popular’ arts. The psychological and aesthetic role of narrative will be explored through the accounts offered by philosophy and psychoanalysis in order to understand the relations and tensions between narrative realism based on Aristotelian notions of cause and effect as well as character verisimilitude, and popular and avant-garde modes which transgress such notions. The role played by, for example, film genres and the star system in disrupting or supporting narrative cause and effect will be considered. The function of the script and of script-writing will be looked at in relation to the deployment of the cinematic elements of sound and image, spectacle and event in film.


FMC 436: The Politics of the Image

This course investigates the longstanding relationship between cinema and politics, moving across seminal debates in film studies that pivot around the question of whether or not the formal characteristics of a film are where its politics must lie. This course begins by examining the relationship between cinema and ideology as it coincides with the rise of political modernist filmmaking and other forms of militant cinema in the late 1960s to recent examples of political filmmaking that center on ethnic, sexual and gendered identities as well as those that explore moments of political crisis and upheaval around the world. We will spend time thinking carefully about the tools of representation on offer in these films including, but not limited to, the use of archival footage, of documentary-style re-enactments, the use of spectacle or decorative imagery and so on.


FMC 437: Children’s Cinema

The course will examine main issues regarding children's cinema. Accompanied by short samples of well-known children's films, the course will address the following topics: the historiography of children's cinema; the complex relations between children's cinema and other cultural fields – adult's cinema and children's literature; the question of the manner in which cinematic models are translated into children's film system; the thematic and aesthetic characteristics of children's cinema; and finally, how does children's cinema reflect the concept of childhood and adulthood in western culture of the 20th and 21st centuries. 



The language of instruction for all the courses in this programme is English.



Subject to the Senate’s approval of this programme, the process of developing and adapting all the course materials will be seriously monitored internally, so as to ensure the quality of courses being developed, right from the onset.  Besides, the 5-year period for the review of course materials will be another opportunity to ensure the quality of the courses being reviewed.  Finally, the NOUN procedures for internal course validation will be followed.



The Programme has access to the Faculty library as well as the University’s Physical and virtual Libraries.    


  1. ACADEMIC Staff







ABUTU Dennis PhD

PhD Mass Communication, (2014), PRAD, BSU, M.A. Mass Communication, (2004), B.Sc. Mass Communication, (2001)

Lecturer I


The University equally has facilitators spread across all the 78 Study Centers nation-wide, who handle communication courses.  There are also a host of facilitators taking the elective courses.



Candidates, who meet up the programme’s entry requirements as stated in item 2 above, will apply on-line.  When admitted, they will equally register their courses on-line as it is for other NOUN programmes.



The instructional method is through the course materials distributed to students at the Study Centers.  Facilitators are used to give students additional aid on any area of the course materials requiring further explanation.

The facilitators will be closely monitored by the Head of Department, the Study Centre Director and Study Centre staff to ensure the quality of the services being rendered to the students.


Evaluation of all the courses would consist of Tutor Marked Assignments (TMA) and End of Course examination. The TMA constitute 30% of the total score. The End of Course examination is 70%.


15.1     Tutor Marked Assignment

As part of the evaluation mechanism, each course would be provided with 4 TMA’s out of which the best 3 would be used for the Continuous Assessments for a course. To qualify to sit for examination therefore, each student must turn in at least three TMA’s for each of the courses.


15.2     End of Semester Examination

Each course will also be examined at the end of the semester. Course facilitators would be encouraged to provide data bank questions to the examination data bank in the Faculty. The Head of Department will select two sets of questions set in the NOUN house style and format provided by the University. Thereafter, the questions would be internally moderated by the Deans in some cases and the HOD at other times, before they are sent to an External Examiner for moderation. The External Examiner will be chosen from other University.


15.3     Marking of Examination Scripts

The marking guides for each course as moderated by the external assessor would be used in the marking of the scripts by the Course Facilitators.



Similar to other students receiving tertiary education, students in Distance Education require various academic and administrative support services from the Directorate of Learner Support Services (DLSS), that currently coordinates the various study centres, student Counsellors and Facilitators.  The Faculty of Social Sciences on its own part will take steps to enhance Study facilitation by following up on facilities available for its courses in all the Centres and employ more facilitators as the need arises.


Being an open-university, the B.Sc. Film Production programme should target both young and old candidates who are interested in acquiring professional skills in Film Production and related multimedia variants. The target audience thus includes the general public and those aspiring to become film directors, producers, actor and actresses and the rest of other interested professionals.


It is projected that at the take-off of the programme by 2018, it is estimated that about 1,500 students will enroll initially considering the frequent requests of prospective candidates who are eager for this programme to be established.  It will record at least 10 per cent annual increment in the students’ enrolment. It is projected that this enrollment will continue to increase over the time.


In view of the fact that a lot of prospective candidates are on ground for this programme and the need to accommodate Film as an arm for Mass Communication programmes and provide opportunities for Nollywood stars longering for certification in the field, it is sincerely hoped that this B. Sc. Film Production Programme will be of immense benefit to the majority of unskilled actors, actresses, producers, and directors in the entertainment industry today.  Professionalism in Film production is of course, to the advantage of mankind, since entertainment is inextricably intertwined with human nature and development.