The curriculum presented here, as a result of the accordance with the Bologna Process, is based on the following principles:

a) Take due account of the accumulated experience, in which it is possible to identify "constancies" sufficiently robust and tested in order to be declared as best practice

b) Take the 6 key areas adopted by both the film industry and other similar reference schools: - Screenwriting, Film Production, Directing, Cinematography, Editing, Sound - as structural variants of the training offered; in terms of curriculum design are organized into two triangles: the first, focused on the design of the project, whose vertices are the Screenwriting, Film Production and Directing, is aimed at developing the skills of design, planning and creative development of a project; the second, more performative, whose corners are occupied by Image, Sound and Editing, is based on the development of technical and artistic skills, applied in the execution of film projects, in their different stages of production.

c) Claiming that the main vocation of a film course, taught by a school of artistic creation, is combining these two strands of training: a focus on the design of the project (knowing how to create) and performance oriented (knowing how to execute), articulating them in a flexible, but permanent way, throughout the curriculum, aiming to have each student make the experience of going from one to another, in a critically mediated way, in a historical, aesthetic and poetic perspective, through knowledge and reflection offered by the area of studies.

d) To ensure that students, within certain limits, dictated by the nature of education, particularly the importance given to teamwork, have the possibility, in two successive moments "to fine tune the choice" of the profile of “training output”.

From this, the following structure goes:

a) The first year (1st and 2nd semesters) consists of a set of curricular units, mandatory for all students, providing a theoretical and practical training in six areas of reference, converging, in terms of practice, that is, film-crew work, at the Seminar on Film Production. Units of study area, historical and aesthetic in nature, complement the curriculum.

b) The second year (3rd and 4th semesters) as the first moment of choosing a profile by the student, is divided into three classes (Image, Editing, Sound), each of which including two units of specific training curricula, per semester, to these the student will add curriculum units of their choice belonging to three other key areas (Screenwriting, Film Production, Directing), which at this point to act as options, the crew practice continues to be held in the Seminar on Film Production while the frequency of compulsory units of study area, historical and aesthetic in nature, aims to develop the critical and reflexive skills of each student.

c) The third year (5th and 6th semesters) as the second choice of a profile by the student, is subdivided into six branches (Screenwriting, Film Production, Directing, Cinematography, Editing, Sound), each of which incorporating three specific training curriculum units, per semester, the student ultimately chooses a profile of output, corresponding to the specific training that the diploma will mention, adding to that the frequency of training with specific curriculum units from other branches open to any student. The Seminar on Film Production includes the participation of students in the full production of film projects, according to the specialty of each of the constituents of a film crew, in the study area the student is now on training of poetic nature.