{"id":{"repo_id":"westminster","oai_identifier":"oai:westminsterresearch.westminster.ac.uk:qx31q"},"canonical_url":"https://search.dev.ndltd.org/etd/westminster/oai:westminsterresearch.westminster.ac.uk:qx31q","repository":{"repo_id":"westminster","name":"University of Westminster","base_url":"https://westminsterresearch.westminster.ac.uk/oai2"},"display":{"title":"The Designer's Story: filmmaking from the perspective of the production designer","abstract":"The production designer is the person responsible for the overall look of a film, working in close collaboration with the director, producer and director of photography. They create the environment and visual style for the story to take place in. As head of the art department they oversee the realization of their designs creating real and imagined worlds for the screen. The deployment of screen space is often physically and emotionally essential in order to underpin the concepts of character and narrative. Drawing widely upon the production designer’s professional perspective and particular creative point of view, the corpus of work comprising this submission has generated a new method of analysis deriving from five distinct categories that the designer employs to visualize the script. This submission consists of a combination of written publications and a feature length film that exemplify the professional practice of a production designer. To accompany the film, evidence is included in the form of pre-production paperwork that details the research and design process. Together the written and practical work provide an overview of the subject of production design through the lens of a professional practitioner.","abstract_html":"The production designer is the person responsible for the overall look of a film, working in close collaboration with the director, producer and director of photography. They create the environment and visual style for the story to take place in. As head of the art department they oversee the realization of their designs creating real and imagined worlds for the screen. The deployment of screen space is often physically and emotionally essential in order to underpin the concepts of character and narrative. Drawing widely upon the production designer’s professional perspective and particular creative point of view, the corpus of work comprising this submission has generated a new method of analysis deriving from five distinct categories that the designer employs to visualize the script. This submission consists of a combination of written publications and a feature length film that exemplify the professional practice of a production designer. To accompany the film, evidence is included in the form of pre-production paperwork that details the research and design process. 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