Moving Image Arts: I was a student of Northern Ireland's first A-Level class

I'm really proud to say I studied in Northern Ireland’s first-ever A-Level class in Moving Image Arts. Not only was it a great decision because I got to study the subject with a few of my very best mates but it was a decision that would shape my future study and professional life. Particularly with the synergy between the art of filmmaking, storytelling, software, and design.

After studying conventional subjects like English, Maths, and Science, choosing Moving Image Arts as an A-Level was liberating. It was really cool. My classmates and I were filmmaking mavericks who wanted to champion creativity at Malone Integrated College. Studying film as an A-Level felt like we were stepping into a university-level field of study. I'm romanticising a bit, but it really was a bold decision to explore creativity, and I absolutely jumped at the chance when I saw the option. I've huge gratitude for Mr Lyons and Mr Cassidy for taking the lead and pioneering the subject at Malone.

Cracker photos above thanks to Robert Rea. Me looking very dark academia at my A-Level formal.

My A-Level choices of Moving Image Arts, History, and ICT were a blend of creative exploration and technical learning. Moving Image Arts allowed me to dive deep into the world of storytelling through film. History sharpened my critical thinking and research skills, which I’ve found invaluable in both design and business. One regret I do have now and then is that I didn’t take Business Studies. I often reflect on how it might have complemented my journey, particularly as I grew more entrepreneurial. That said, the analytical thinking from History and the technical know-how from ICT have been pivotal, and I would 100% never give up the skills I picked up from learning Moving Image Arts during my time in integrated education.

Our class was a small group of creatives, many of us with an interest in music and drama. Drama was another subject that I thought about doing at GCSE but had never taken up. But Music was one that I had effectively dropped after GCSEs to focus on the three above. So it was great to work and study with some of the core group that I had lost from Music and connect with mates that I maybe had not even studied in depth with before. As a study group, we bonded quickly, helping each other out as we navigated uncharted waters, got excited about working together and learning about film.

One of the exciting aspects of studying this new subject was getting to use Apple Mac computers for the first time. Growing up in Northern Ireland, back in my day there were computers but nowhere near the technology most schools have available to them today. It felt groundbreaking. We got to use brand new Apple Mac Minis and learnt how to use Final Cut on them. I had mucked about with Photoshop and the Paint Shop Pro animation studio before but using Final Cut was totally fresh. Final Cut was an industry-standard editing tool, and using it opened up a whole new world of creative possibilities. The sleek, intuitive design of both the Macs and the software was not only inspiring to use but it made it easy to experiment and push creative boundaries. If you think about the thrill you might have had opening up the effects panel with Photo Booth on a Mac or the modern equivalent of funny Snapchat/TikTok filters. We had these kinds of effects at our fingertips back in the early millennium, and we were attempting to make half-serious films with them!

Outside of the effects, there was something thrilling about working with the latest technology, knowing it was the same kind of kit used by professionals. It fueled my dopamine receptors to really get stuck in and enjoy the subject. One of our first editing projects in Moving Image Arts was to edit a music video for Neil Young's "Rockin' in the Free World." We were given stock footage, the freedom to shoot our own material from the corridors of the school, and the soundtrack on repeat. The goal was to create something that matched the energy of the song while showcasing our developing editing skills.

It was my first time working hands-on with Apple Macs and Final Cut Express, which was considered top-tier editing software at the time. Those early days of learning to edit on Final Cut were instrumental in shaping my approach to storytelling and creativity. This project wasn’t just a technical exercise; it was an introduction to the creative process of filmmaking. Each of us came up with something entirely different, despite working with the same base materials. It taught me early on how editing is such a personal and creative craft—how different approaches and perspectives can lead to completely unique outcomes. The freedom to explore and play with footage was exhilarating and really solidified my passion for visual storytelling.

Moving Image Arts was my first real introduction to the structure and discipline behind visual storytelling, where the importance of planning was taught to us. We learned that successful filmmakers rely on storyboards—whether simple stick figures or detailed illustrations—to map out the flow of their films. This level of preparation directly shaped how I approach design and user experiences today. Just like storyboarding a film, I now storyboard user interfaces, meticulously planning wireframes, user journeys, and flows. In both film and design, every element—whether in or out of the frame—contributes to the overall narrative. Learning how to storyboard instilled a fundamental understanding of visual planning that I now apply in UX design, ensuring every detail resonates with users and delivers the right message at the right moment, much like a director crafting a film sequence.

At A-Level, we delved deep into the theory behind film—everything from German Expressionism to Hollywood’s golden age, exploring how films communicate through visuals. We studied movements like Italian Neorealism and French New Wave, studying films like Three Colours Blue and learning how film is both an art form and a language. The course emphasised how elements like cinematography, mise-en-scène, and semiotics contribute to storytelling. It was a comprehensive dive into film history, aesthetics, and the cultural impact of the medium.

University, on the other hand, was much more focused on the practical side of filmmaking. We spent more time behind the camera, making films and experimenting with different techniques. While I appreciated the hands-on approach at university, my deep theoretical foundation from A-Level gave me an edge over much of my class. I understood why certain techniques worked and how to use them to evoke emotion, atmosphere, or narrative depth.

One defining moment in my A-Level studies was watching the silent horror film Nosferatu. As one of the earliest horror films, its gothic visuals made a lasting impact on me. The absence of speech focused on the power of cinematography and atmosphere—the use of light, shadows, and framing to evoke fear. Watching Nosferatu helped me realise how much emotion and tension can be built purely through visuals, a lesson I carry with me in my design work today. For one of our modules, I helped to creative direct our team to lean towards this style for a gothic energy, black and white silent film. We also utilised stop motion for the film and ended up getting the highest marks in the class for this team module. Visuals from that can be seen below. Filmed and edited with Ryan Pitts and Robert Mc Parland. :)

Looking at today’s world, it’s clear how much filmmaking has exploded beyond traditional cinema. The rise of platforms like YouTube and TikTok has democratised filmmaking, allowing anyone with a phone to create content that can reach millions. Back then we thought it was huge that we had use of a Canon tape-based camcorder. Now most people have that level of tech and more in their pockets. It’s incredible to think that what I studied as a pioneering A-Level subject is now a key part of everyday life for so many. The principles I learned back then—storytelling, visual composition, editing—are more relevant than ever. I’m proud to have been part of the first cohort in Northern Ireland and would love to revisit and share that knowledge with others, especially in today’s digital landscape.

Studying film taught me to think about the bigger picture—what’s inside the frame, what’s outside, and how to guide perception. This is exactly how I approach design today, crafting user experiences that tell a story, shape emotions, and drive action. Just like in filmmaking, every element of design needs to be intentional, from the layout and color scheme to the user journey. Moving Image Arts helped me understand how powerful visuals can be in guiding and influencing the viewer—or in my case, the user. It’s about crafting experiences that engage and resonate with the audience, whether on screen, in person, or online.