Undergraduate Degrees

BA Film and Television Studies ( W610 )

UCAS Course Code:: W610
Duration:: 3 years
Attendance:: Full Time
Award:: Degree of Bachelor of Arts
School of Study:: Film, Television and Media Studies
Brochure:: Film and Television Studies Undergraduate Brochure (PDF)
Typical A-Level Offer:: AAB - ABB with at least one humanities subject

Overview
Why Choose Us
Course Profile
Requirements
Fees and Funding
Apply

In the most recent Research Assessment Exercise, 90 per cent of the School’s research was graded as ‘world-leading’ or ‘internationally excellent’, and as our teaching is research-led this means that our students are always taught innovative and contemporary topics through our cutting-edge teaching methods.

This degree programme allows you to study the history, theory and politics of two of the key media - film and television - in contemporary culture.

Year 1

During your first year you will be introduced to key critical and theoretical approaches to the study of these two media. You will also look at the history of film and television, and modules that situate these media in broader cultural contexts and historical debates. Your first year also contains Analysis Film and Television, a module specifically designed to introduce you to academic study at university and the key skills needed to begin deconstructing and understanding film and television texts within culture.

Year 2

In Year 2, you take Film Theory and a module called Research Training that helps you to develop the research skills you will need for dissertation and project work in Year 3. In addition to these modules, you can take a wide range of production, history and conceptual modules which may include modules like The Practice of Screenwriting, The Business of Film and Television, Film Genres, Animation and British Cinema since the 1990s. Using these modules, and optional modules in Year 3, you can build pathways through your degree that reflect your interests. These may include pathways like British film and television, film and television production, gender in film and television or world cinema.

Year 2 also allows you to take two modules of “Defined Choice.” Defined Choice options lists include School of Film, Television and Media Studies modules, but also the broadest possible range of modules relevant to your degree, selected for you in order to help you broaden your horizons. Therefore, Defined Choice enables you to take further Film, Television and Media Studies modules, or to experiment with new subjects, approaches and ideas, or to take a year of language modules. Your personal tutor will work with you to help you make these and other module choice decisions.

Year 3

Year 3 continues our commitment to student choice, giving you the opportunity to plan, research and undertake a dissertation on a topic of your choice with the guidance of a supervising member of staff. Additionally, you choose from a further broad range of specialist Film, Television and Media Studies modules, including modules such as Crime Television, Women, Islam and Film and Teenage Kicks: Media Youth and Subculture. These research-led modules relate to the special research interests of staff members, ensuring that you receive the most up-to-date teaching from enthusiastic lecturers.

Teaching and Assessment

Academic study skills, key concepts, issues and ideas are introduced in lectures and seminars throughout your studies. In Years 2 and 3 there is a greater emphasis on seminar-based modules, which allow students to have time together with tutors to discuss new topics. Modules are chosen from a range offered within the School and across the University. You will spend time studying and researching in the library and you are also likely to spend time on creative work or projects.

Assessment types vary, but it is normal for students to undertake research essays, projects, examinations and presentations across their degrees. Assessments usually take place during and on the completion of modules. In your final year, you will also write a dissertation on a topic of your choosing and with the advice of tutors. There is no final examination. Your final degree result is determined by the marks you receive in years two and three.

All students joining degrees in the School of Film, Television and Media Studies would find it helpful to read Timothy Corrigan's A Short Guide to Writing about Film, (2010, 7th Edition, New York: Longman) over the summer prior to joining the University of East Anglia.

Course Organiser:Dr. Rayna Denison

UEA was one of the first British universities to develop the study of cinema and television.

The Student Experience Survey ranks UEA third in the country - two places higher than last year's result and overtaking both Oxford and Cambridge... Read More >

We have 12 dedicated members of academic staff, with several more colleagues contributing on a part-time basis. More than 40 graduates of the MA and PhD programmes hold teaching posts at universities in the UK and elsewhere. In the most recent quality assessments by the High Education Funding Council, teaching at undergraduate and postgraduate level was adjudged excellent (with a score of 23 out of a possible 24) and our research was placed in the top three of UK institutions.

Each year, some 60 undergraduates are registered for one of the Film and Television Studies degrees (BA Media Studies, BA Film and English Studies, BA Film and American Studies and BA Film and Television Studies). Teaching deals mainly with the history and current shape of British and American cinema and television and with film theory and criticism. We also run modules on other world cinemas and on television, video and film production. The BA degrees in Film and English Studies and Film and American Studies are interdisciplinary, with Film or Television Studies taking up between a half and two thirds of the course. The BA in Film and American Studies is a four year course with the third year spent studying at a university in the USA or Australia.

We have hosted a number of very successful events in recent years, including major conferences on British cinema (1988), Buffy the Vampire Slayer (2002), Post-Feminism and popular culture (2004), Going Cheap: Female Celebrity in the Tabloid, Reality and Scandal Genres (2008), and the Anglia TV and the History of ITV conference (2008).

To find out more about why we think you should choose our degree programmes, please follow the links below:

Why Study in the School

What Our Students Say

Compulsory Study (120 credits)

Students must study the following modules for 120 credits:

Name	Code	Credits
ANALYSING FILM AND TELEVISION	FTMF1F09	20
The module is designed to provide students with core study skills and techniques and methods of textual analysis. The module will cover the analysis of a range of formal features and frameworks such as narrative, mise-en-scene, camera work, editing and sound used in the analysis of film and television. The study skills covered will include use of the library and internet for research, as well as note taking, essay planning and the conventions of academic writing. In the process the module will cover issues such as referencing and plagiarism. It will be taught by lecture, seminar and screening.
FILM, TELEVISION AND NEW MEDIA	FTMF1F16	20
It is often claimed today that contemporary media are undergoing a process of convergence, in which the specificity of film and television is increasingly becoming blurred. This module will examine the contemporary situation of the media by examining the ways in which the emergence of new media has repeatedly given rise to various species of futurological thinking. The module will also examine the various ways in which the integration of film and television with a range of new media (video, DVD, the internet etc.) is both changing and not changing their modes of production, their textual character and the conditions within which they are consumed. The module is taught by lecture and seminar.
INTERROGATING CULTURE	FTMF1F12	20
This module provides an introduction to the key debates over media and cultural theory. In the process, it focuses on the key movements and theorists and covers key debates over the concept of mass culture and the mass media, structuralism and poststructuralism, high/low culture, the culture industries, and hegemony. The module will be taught by lecture and seminar.
STUDIES IN FILM HISTORY	FTMF1F06	20
This module provides an introduction to the narrative history of film from the mid 20th century to the present, as it is commonly understood within Film Studies. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The module will be taught by lecture, seminar and screening.
TELEVISION HISTORY	FTMF1F15	20
This module aims to offer an introduction to television history, moving from the establishment of broadcasting up until the present day. Focusing on the British context, it explores how television has developed, while it also explores the very idea of ��television history�� itself �� how television can be studied historically, and the debates and issues involved in the construction of television history. The module is split into three sections: institution (e.g. the establishment of public service broadcasting and the BBC, the advent of Channel 4), texts (e.g studying particular programmes in their contexts), and audience (e.g. memory and childhood TV, TV fandom and the internet). The module is taught by a combined lecture/screening and seminar.
WHAT IS FILM HISTORY?	FTMF1F11	20
This module provides an introduction to the narrative history of film in the late 19th century and early 20th century, as it is commonly understood within Film Studies. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The module will be taught by lecture, seminar and screening.

Compulsory Study (40 credits)

Students must study the following modules for 40 credits:

Name	Code	Credits
FILM THEORY	FTMF2F43	20
This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as Andr�� Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela B��l��zs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.
RESEARCH TRAINING	FTMF2F34	20
The module is designed to provide students with the key concepts and methods necessary to devise and execute an independent research project whether using traditional academic methods or practice based research. As a result, it will cover the key processes involved in devising and focusing a research project, reflexively undertaking the research itself and writing up one's results. In the process, students will be shown how to position their work in relation to an intellectual context; devise the research questions that are practical and realistic; and developing research methods through which to address these questions. The module will be taught by lecture and seminar.

Option A Study (40 credits)

Students will select 40 credits from the following modules:

Name	Code	Credits
ANIMATION	FTMF2F33	20
Animation is one of the most popular and least scrutinised areas of popular media culture. This module seeks to introduce students to animation as a mode of production through examinations of different aesthetics and types of animation from stop motion through to cel and CGI-based examples. It then goes on to discuss some of the debates around animation in relation to case study texts. Example debates include: who animation is for (children?), the limits of the term ��animation�� in relation to CGI, the industrial frameworks for animation production (art vs commerce) and character vs star debates around animation icons. A range of approaches and methods will therefore be adopted within the module, including political economics, cultural industries, star studies and animation studies itself. The module is taught by seminar and screening.
BRITISH CINEMA AND THE PAST	FTMF2F18	20
Literary adaptations, historical epics, war films, spoofs, bio-pics and romantic comedies: British films feature a range of filmmaking styles that deal with and represent 'the past'. This module examines the prominent position that period films have occupied within British film culture of the last century. Their enduring popularity among both filmmakers and audiences raises a range of aesthetic, ideological and practical issues. What techniques and conventions do they use to depict the past? What visions of the British past do they offer? What pleasures do they provide for their audiences? How important are foreign audiences and investment? Do films about the past provide escapist entertainment, or do they enable filmmakers (and audiences) to address contemporary concerns? Investigating films such as 'Zulu', 'A Room with a View', 'Elizabeth', the 'Carry On' series and 'The Queen', the module examines the depiction of the past in British cinema from the 1930s to the present. The module is taught by seminar and screening.
BRITISH CINEMA SINCE 1990	FTMF2F51	20
The period since 1990 has been one of rapid change in the British film industry and this module explores this changing landscape. It will explore key areas including institution (the role of screen agencies, the BFI and key film making institutions such as Aardman, Working Title and Warp films) and policy as well as looking at areas such as genres, stars and directors. We will consider the interplay between the British film industry and the wider global film industry and will draw on a range of both familiar and less well known texts in order to analyse some of the key developments in British cinema during this time and to consider how recent developments such as the closure of the Film Council might impact upon British cinema culture.
FILM AND AUTHORSHIP	FTMF2F36	20
This module will introduce students to the theory and analysis of authorship within film. In the process, it will introduce students to the key theoretical debates over film authorship before moving on to examine a range of case studies. The module is taught by seminar and is supported by a separate programme of screenings.
FILM GENRES	FTMF2F71	20
Film Genres introduces students to the range of theories and methods used to account for the prevalence of genres within filmmaking. The module investigates historical changes in how film genres have been approached in order to consider how genres have been made use of by industry, critics and film audiences. Genre theories are explored through a range of case studies drawn from one or more of a range of popular American film genres that may include the Western, melodrama, romantic comedy, the road movie, the buddy movie, film noir, the gangster film, the war film and action/adventure film. In exploring concepts and case studies relating to film genres the module aims to demonstrate the impact of genres within contemporary culture.
INTRODUCTION TO VIDEO PRODUCTION	FTMF2P81	20
This module will enable students to acquire the essential skills to undertake video production and create coherent video programmes. Practical instruction and familiarisation is supported by workshop sessions focusing upon elements of the relationship between technique and the inscription of mise-en-scene within film. Whilst specific craft skills are recognised there is greater emphasis upon the overall requirements of the production process, including elements of production management, and an understanding of how these components integrate to maximise the communication potential of a production. Learning is structured around the production of an individual portfolio of practical tasks supported by associated research tasks investigating the application of technique to the interpretation and reception of audio-visual texts, and a project executed within small production groups. An individual evaluation of learning during the module is also required.
INTRODUCTION TO VIDEO PRODUCTION	FTMF2P82	20
This module will enable students to acquire the essential skills to undertake video production and create coherent video programmes. Practical instruction and familiarisation is supported by workshop sessions focusing upon elements of the relationship between technique and the inscription of mise-en-scene within film. Whilst specific craft skills are recognised there is greater emphasis upon the overall requirements of the production process, including elements of production management, and an understanding of how these components integrate to maximise the communication potential of a production. Learning is structured around the production of an individual portfolio of practical tasks supported by associated research tasks investigating the application of technique to the interpretation and reception of audio-visual texts, and a project executed within small production groups. An individual evaluation of learning during the module is also required.
MEDIA INTERNSHIP	FTMF2F41	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1W610301 and U1P300302. This module is intended to provide students with an opportunity to experience working within a media organisation. The organisation will provide a clear sense of their structure and activities and students will work to a precise job description. The internship will therefore offer students the opportunity to work as individuals within a team and develop skills and experience vital to future career in the media.
MEDIA INTERNSHIP	FTMF2F42	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1W610301 and U1P300302. This module is intended to provide students with an opportunity to experience working within a media organisation. The organisation will provide a clear sense of their structure and activities and students will work to a precise job description. The internship will therefore offer students the opportunity to work as individuals within a team and develop skills and experience vital to future career in the media.
POPULAR MUSIC	FTMF2F52	20
This module encourages students to explore the ways in which popular music has been understood by scholars in the field of media and cultural studies. The module will examine the debates over popular music industries, texts and audiences, and incorporate an exploration of a range of popular musical forms, including folk music, rock, pop, rap and/or hip-hop, and dance music cultures. It will also examine the relations of popular music to other media, such as television and the internet.
RECEPTION AND AUDIENCE STUDIES IN FILM AND TELEVISION	FTMF2F29	20
This module seeks to understand the ways in which audiences engage with film and television. It will introduce students to some of the key research on, and theoretical debates about, audiences and the processes of reception, from work on encoding and decoding, through studies of the social activities of television consumption, to research on marketing, critical reception and exhibition. It will also introduce some of the methodological issues involved in the actual practice of doing audience studies. In this way, the module will not only encourage students to learn about the study of film and television audiences, but also equip them with the tools necessary to undertake their own studies. The module is taught by seminar.
SCRIPT ANALYSIS AND STORY STRUCTURE	FTMF2F64	20
This module investigates the theory and practice of script analysis for film and television. Students will have an opportunity to learn professional approaches to reading and evaluating scripts and source material for production. The module will explore basic dramaturgy and learn a variety of paradigms to describe story structure and character development. Students will learn several approaches to evaluating material, and will have the opportunity to create industry standard story reports. Each week, students will read and analyze scripts and/or books, and then screen films based on the material. Seminars will introduce key concepts and explore the narrative elements in the scripts and final films. In addition, the unit will look at story development as a facet of media practice. The module will draw on a variety of texts. Original scripts will form the backbone of the module, but the reading will also include novels and other forms of source material. This will also include a brief survey of dramaturgy, from the ��Poetics�� to modern manuals for script analysis. Other readings will examine the area as media practice. Formative work will play an important role in the module. Students will produce written reports virtually every week, which they will peer-correct in small support groups. This provides an opportunity to work in a variety of formats or with different types of material. In addition, it provides much-needed practice, as it takes many repetitions to learn the proper style and produce effective, professional-style work. The instructor will monitor formative work submitted through the Portal/Blackboard.
TELEVISION GENRE	FTMF2F54	20
Work on television genre continues to draw on theories developed in relation to film, despite the fact that these theories have been heavily criticised. Not only can this ignore the differences between film and television genres, it can also work to privilege film over television, so that television is often seen as an inferior copy of genres developed elsewhere. The module will therefore explore the theory of genre in relation to television, the historical development of television genres, and the operation of genre in the production, mediation and consumption of television and its programmes. The module will also examine these debates in relation to concrete case studies. The module is taught by seminar and screening.
TELEVISION STUDIO PRODUCTION	FTMF2P33	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
TELEVISION STUDIO PRODUCTION	FTMF2P32	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
THE BUSINESS OF FILM AND TELEVISION	FTMF2F35	20
The module provides an intensive introduction to the business of film and television; including the development, financing, production, distribution and exploitation of films and television programmes. It is based around a detailed understanding of the film and television value chain, showing how different businesses and creative people work together to create and exploit programmes. It will also cover the process by which scripts or TV programme ideas are written and developed. Emphasis will be placed on UK, European and American Independent film models, as well as the US studio model. It includes a wide range of recent case studies and real-life examples, with companies from Pixar to Working Title, and film-makers from Ken Loach to Terry Gilliam. Issues raised will include the impact of new technologies; changing business models; the conflict between commerce and art; entrepreneurship and managing creative people; and the complex and difficult relationships between writers, directors, producers, executives, financiers, and distributors. It is a practical forward-looking course about current and future business practise, which will be a valuable foundation for anyone interested in working in the media, film or television sectors. It will also be valuable to anyone studying film and television programmes and culture, so that they can fully understand the financial and business context in which programmes are created. By the end of the module you will know how films and TV programmes get dreamt up, how they get developed, and how they get financed and distributed. You will learn how the industry actually works.
THE PRACTICE OF SCREENWRITING: ISSUES IN ADAPTATION	FTMF2P20	20
This module is a practical screenwriting class. Students will explore basic issues in screenwriting and will focus on the problems of creating new screenplays adapted from novels, short stories, articles and other sources. Classroom sessions will compare film adaptations to the original material, introduce concepts of screenwriting and screenplay form, and apply key tools of script analysis. The final project will offer the opportunity to write a short screenplay or the first act of a feature-length script. The module offers essential skills for anyone contemplating a screenwriting career. The module is taught by seminar and screening.
THE PRACTICE OF SCREENWRITING: ISSUES IN ADAPTATION	FTMF2P23	20
This module is a practical screenwriting class. Students will explore basic issues in screenwriting and will focus on the problems of creating new screenplays adapted from novels, short stories, articles and other sources. Classroom sessions will compare film adaptations to the original material, introduce concepts of screenwriting and screenplay form, and apply key tools of script analysis. The final project will offer the opportunity to write a short screenplay or the first act of a feature-length script. The module offers essential skills for anyone contemplating a screenwriting career. The module is taught by seminar and screening

Free Choice Study (40 credits)

Students will select modules worth 40 credits from the course catalogue with the approval of their School

Compulsory Study (30 credits)

Students must study the following modules for 30 credits:

Name	Code	Credits
FILM, TELEVISION AND MEDIA STUDIES: DISSERTATION (AUT)	FTMF3F75	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F76 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
FILM, TELEVISION STUDIES AND MEDIA DISSERTATION (SPRING)	FTMF3F76	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, TW76401, U1W610301, U1WV63301 AND U1P300302. This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television Studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F75 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
PRACTICE-BASED DISSERTATION (AUT)	FTMF3P83	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.
PRACTICE-BASED DISSERTATION (SPR)	FTMF3P84	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.

Option A Study (60 credits)

Students will select 60 credits from the following modules:

Name	Code	Credits
ASIAN CINEMA	FTMF3F68	30
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.
CELEBRITY	FTMF3F64	30
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F57	30
This module offers students the opportunity to gain an understanding of the industries that many of them may well wish to work in. The media industries are those that produce culture, and so they naturally include television, film, music, publishing (books, newspapers and magazines) and so on. People often want to work in the media since this kind of work offers opportunities to be ��creative��, to think independently and engage in activities which interest them already. But what does ��creativity�� mean in different kinds of media work and what kind of conditions do those working in the media typically face? To explore such questions, we reflect on changes in the nature of work itself in modern societies. That is, when so much modern work is either temporary and precarious, with many in advanced industrial countries working longer hours than ever before, is there a danger that work is detracting from the quality of our lives rather than enhancing it? The module explores the potential to find pleasure, fulfilment (and a steady income), as well as pressure, frustration and precariousness in media work. It also looks at the extent to which it is feasible to do ��good work�� in the media industries, as they become seemingly ever more commercial and competitive. How possible is it to produce challenging, innovative, groundbreaking, thoughtful or just genuinely entertaining media products? This means engaging with academic research and other writing, both historical and contemporary in nature. The above issues cannot be addressed through simple description. They raise important theoretical and historical issues about the place of artistic and professional creativity in modern societies.
CRIME TELEVISION	FTMF3F92	30
This module explores crime and investigation in recent US television, encompassing formal developments such as the use of group formats, specialist teams and genre hybrids. It considers theoretical/critical issues that may include the value and limits of approaching television via genre, representations of urban US life, the (lack of) engagement with questions of race, gender and the female investigator, gender and sex crimes, the statement and transgression of social/cultural taboos to do with sex, violence and identity and the increasing significance - post 9/11 - of paranoid narration, the investigation of terrorism as crime and the policing of US civil society. This module is taught by seminar and screening.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F10	30
This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.
SCIENCE FICTION CINEMA	FTMF3F07	30
Science Fiction is currently a key genre in popular cinema, providing a significant focus for addressing social, cultural and political issues. This module follows the historical development of the genre and looks at changes in the way both mainstream and alternative films have addressed such issues. Films we look at range from silent classics such as 'Le Voyage dans la Lune' and 'Metropolis' to the more recent 'Independence Day', 'The Fifth Element', and 'The Matrix'. Other screenings might include 'Things to Come', 'The Day the Earth Stood Still', 'Demon Seed', 'Alien', 'The Brother from Another Planet', 'Robocop' and 'Akira'. Separate screenings.
SELLING SPECTACLE	FTMF3F45	30
Spectacle is the cornerstone of the modern film industry, in Hollywood and in other national cinemas around the world. Blockbusters and other films are produced, marketed and exhibited using epic language, hyperbolic visuals and overblown promotional materials. Yet despite these excessive claims, the world of selling spectacle and epic marketing techniques are often overlooked in academic or critical discussions. This module will explore the history of spectacle within the global film industries, the cinematic technologies that have been created to enhance that spectacle, and the advertising and promotional techniques that were utilised to emphasise and display it. Following the work of theorists such as Tom Gunning, Geoff King, Janet Staiger and Barbara Klinger, the module will demonstrate the historical development of spectacle and selling that lies behind the modern system of film production, distribution and exhibition. Understanding the theory and methodologically distinct approaches needed to analyse posters, press books, trailers, websites, interviews, and critical reviews will be an essential component to this module. Students will be expected to engage with both theories of film advertising and analysis of marketing materials and other related epiphenomena. While the module will consider some films that may be described as belonging to the ��epic�� genre ('The Ten Commandments', 1956; or 'Gladiator', 2000) this module is not concerned with generic traits so much as spectacular production practices throughout film history, and the industrial practices that were invented to educate audiences in such new, spectacular, images and concepts. Using specific case studies, the module will trace the historical development of spectacle within filmmaking, and its role in redefining the function of film advertising and promotion.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F52	30
Stanley Kubrick is regarded as one of the most important filmmakers of the 20th century, with '2001: A Space Odyssey' (1968) and 'Dr Strangelove' (1964) being listed in critics' polls as two of the best films ever made. Kubrick also was one of the most commercially successful directors of the 1960s and 1970s. This module concentrates on the 11 full-length films he made from 1956 to 1999, but also considers his early career as a photo-journalist and maker of documentary shorts and short features. The module examines the production, themes, style and reception of Kubrick's films, and situates them in the context of broader developments in American cinema, culture and politics.
TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE	FTMF3F61	30
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation
WOMEN, ISLAM AND MEDIA	FTMF3F83	30
BEFORE TAKING THIS MODULE YOU MUST TAKE EITHER FTVF1F09 OR TAKE PSI-1A05 OR TAKE PSI-1A06 This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism��s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women��s film festivals.

Option B Study (30 credits)

Students will select 30 credits from the following modules:

Name	Code	Credits
ANALYSING MEDIA DISCOURSES	PSI-3A41	30
The module will explore some of the main approaches to the analysis of media texts including structuralism, psychoanalysis and discourse analysis. These approaches will be discussed in relation to films like James Bond, advertising campaigns like the ones by the United Colors of Benetton, and newspaper articles on current affairs. The aim of the module is to bring together theory and hands-on analysis and research in media products.
ASIAN CINEMA	FTMF3F68	30
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.
BROADCAST JOURNALISM	PSI-3A51	30
Broadcast Journalism provides students with an overview of modern journalism practices and related production processes. The module will enable students to contextualise academic study and criticism of news gathering and presentation processes. Students will collaborate in producing short, broadcast-style news reports, which will be compiled into a magazine format programme (see, for example, BBC’s The One Show). First, students will be trained in the 'art' of journalism; the techniques and practices that are used to create reports. Second, students will be introduced to production skills including cameras, sound and editing. Students will be taught by highly experienced production and news journalists and use broadcast quality equipment. The practical teaching will be reinforced by instruction on the packaging and presentation of news and factual material for broadcasting purposes.
CELEBRITY	FTMF3F64	30
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.
CONTEMPORARY DRAMA AND FILM	LDCD3X34	30
The module will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Issues covered include the (questioned) demise of explicitly political drama and the appearance of previously silenced voices (e.g. gay and lesbian themes, feminist playwrights and writing ethnicity, physical theatre practitioners).
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F57	30
This module offers students the opportunity to gain an understanding of the industries that many of them may well wish to work in. The media industries are those that produce culture, and so they naturally include television, film, music, publishing (books, newspapers and magazines) and so on. People often want to work in the media since this kind of work offers opportunities to be ��creative��, to think independently and engage in activities which interest them already. But what does ��creativity�� mean in different kinds of media work and what kind of conditions do those working in the media typically face? To explore such questions, we reflect on changes in the nature of work itself in modern societies. That is, when so much modern work is either temporary and precarious, with many in advanced industrial countries working longer hours than ever before, is there a danger that work is detracting from the quality of our lives rather than enhancing it? The module explores the potential to find pleasure, fulfilment (and a steady income), as well as pressure, frustration and precariousness in media work. It also looks at the extent to which it is feasible to do ��good work�� in the media industries, as they become seemingly ever more commercial and competitive. How possible is it to produce challenging, innovative, groundbreaking, thoughtful or just genuinely entertaining media products? This means engaging with academic research and other writing, both historical and contemporary in nature. The above issues cannot be addressed through simple description. They raise important theoretical and historical issues about the place of artistic and professional creativity in modern societies.
CRIME TELEVISION	FTMF3F92	30
This module explores crime and investigation in recent US television, encompassing formal developments such as the use of group formats, specialist teams and genre hybrids. It considers theoretical/critical issues that may include the value and limits of approaching television via genre, representations of urban US life, the (lack of) engagement with questions of race, gender and the female investigator, gender and sex crimes, the statement and transgression of social/cultural taboos to do with sex, violence and identity and the increasing significance - post 9/11 - of paranoid narration, the investigation of terrorism as crime and the policing of US civil society. This module is taught by seminar and screening.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F10	30
This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.
NATIVE AMERICAN WRITING AND FILM	AMSA3S02	30
This module considers Native American writing and film as sites of cultural and political resistance, analysing the ways in which a diverse range of Native authors, screenwriters and directors within the United States respond to contemporary tribal socio-economic and political conditions. Taking popular ideas of 'the Indian', this module considers the ways in which stereotypes and audience expectations are subverted and challenged. Topics include race and racism, indigeneity, identity, culture, gender, genre, land and notions of 'home', community, dialogue, postcolonial theory in its application to those who remain colonised, and political issues such as human rights and environmental racism.
POLITICAL COMMUNICATION	PSI-3A10	30
Political communication occurs on many different levels, and subsequently with different implications and effects. Political communication can be verbal or nonverbal by political actors or about political actors and systems. This module builds upon the Politics and Mass Media unit and explores the forms and impact of political communication. It will be organised around the themes of who communicates, whether that is the state, celebrities, media organisations, the message they communicate, and the effect this has on the receivers of the message. The module will address areas such as spin, globalisation, the role of the new media in order to explore the changing nature of political communication.
POLITICS AND POPULAR CULTURE	PSI-3A37	30
The module explores three issues: the role of popular culture in political thought and action, the political organisation of, and response to, popular culture, and the political meanings and interpretations placed upon popular culture.
PROFESSIONAL VIDEO PRODUCTION	FTMF3P81	30
This module gives students the opportunity to produce digital video projects to specifications set down by the university and a range of external bodies. The briefs might include events such as conferences, study days and exhibitions or might involve students working with community groups to produce video based material. Students will benefit from a holistic experience, working in groups to take projects from brief to realisation and will gain a professional experience in producing viable yet creative production solutions to the specifications of their ‘clients’. This module will provide experience of working in a ‘real life’ style production scenario and as such will be a valuable addition to the CV of any student wishing to pursue a career within the demanding and competitive production company environment.
PROFESSIONAL VIDEO PRODUCTION	FTMF3P82	30
This module gives students the opportunity to produce digital video projects to specifications set down by the university and a range of external bodies. The briefs might include events such as conferences, study days and exhibitions or might involve students working with community groups to produce video based material. Students will benefit from a holistic experience, working in groups to take projects from brief to realisation and will gain a professional experience in producing viable yet creative production solutions to the specifications of their ‘clients’. This module will provide experience of working in a ‘real life’ style production scenario and as such will be a valuable addition to the CV of any student wishing to pursue a career within the demanding and competitive production company environment.
REVENGE TRAGEDY: ANCIENT AND MODERN	LDCE3Y86	30
This seminar explores the different ways in which the concept of revenge has been conceived and represented in a range of dramatic texts. The module covers three distinct groups of primary materials: classical tragedy (in translation) including Aeschylus's Oresteia; early modern revenge tragedy including works by Shakespeare, Tourneur and Kyd; and modern cinematic explorations of the revenge formula including Get Carter, Old Boy and Tarantino's Kill Bill movies. Topics discussed include the relationship between classical and Christian attitudes to revenge, contemporary strictures upon private vengeance, the representation of justice through the ages, the limitations of the revenge tragedy formula.
SCIENCE FICTION CINEMA	FTMF3F07	30
Science Fiction is currently a key genre in popular cinema, providing a significant focus for addressing social, cultural and political issues. This module follows the historical development of the genre and looks at changes in the way both mainstream and alternative films have addressed such issues. Films we look at range from silent classics such as 'Le Voyage dans la Lune' and 'Metropolis' to the more recent 'Independence Day', 'The Fifth Element', and 'The Matrix'. Other screenings might include 'Things to Come', 'The Day the Earth Stood Still', 'Demon Seed', 'Alien', 'The Brother from Another Planet', 'Robocop' and 'Akira'. Separate screenings.
SELLING SPECTACLE	FTMF3F45	30
Spectacle is the cornerstone of the modern film industry, in Hollywood and in other national cinemas around the world. Blockbusters and other films are produced, marketed and exhibited using epic language, hyperbolic visuals and overblown promotional materials. Yet despite these excessive claims, the world of selling spectacle and epic marketing techniques are often overlooked in academic or critical discussions. This module will explore the history of spectacle within the global film industries, the cinematic technologies that have been created to enhance that spectacle, and the advertising and promotional techniques that were utilised to emphasise and display it. Following the work of theorists such as Tom Gunning, Geoff King, Janet Staiger and Barbara Klinger, the module will demonstrate the historical development of spectacle and selling that lies behind the modern system of film production, distribution and exhibition. Understanding the theory and methodologically distinct approaches needed to analyse posters, press books, trailers, websites, interviews, and critical reviews will be an essential component to this module. Students will be expected to engage with both theories of film advertising and analysis of marketing materials and other related epiphenomena. While the module will consider some films that may be described as belonging to the ��epic�� genre ('The Ten Commandments', 1956; or 'Gladiator', 2000) this module is not concerned with generic traits so much as spectacular production practices throughout film history, and the industrial practices that were invented to educate audiences in such new, spectacular, images and concepts. Using specific case studies, the module will trace the historical development of spectacle within filmmaking, and its role in redefining the function of film advertising and promotion.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F52	30
Stanley Kubrick is regarded as one of the most important filmmakers of the 20th century, with '2001: A Space Odyssey' (1968) and 'Dr Strangelove' (1964) being listed in critics' polls as two of the best films ever made. Kubrick also was one of the most commercially successful directors of the 1960s and 1970s. This module concentrates on the 11 full-length films he made from 1956 to 1999, but also considers his early career as a photo-journalist and maker of documentary shorts and short features. The module examines the production, themes, style and reception of Kubrick's films, and situates them in the context of broader developments in American cinema, culture and politics.
TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE	FTMF3F61	30
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation
WOMEN, ISLAM AND MEDIA	FTMF3F83	30
BEFORE TAKING THIS MODULE YOU MUST TAKE EITHER FTVF1F09 OR TAKE PSI-1A05 OR TAKE PSI-1A06 This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism��s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women��s film festivals.

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Entry Requirements

Qualification:: BA (Hons)
A Level:: AAB - ABB with at least one humanities subject
International Baccalaureate:: 33 - 32 points with at least one humanities subject
Scottish Highers:: Must have at least one Higher
Scottish Advanced Highers:: AAB-ABB with at least one humanities subject
Irish Leaving Certificate:: AAAABB -AABBBB with at least one humanities subject
Access Course:: Please contact the university for further information
HND:: Please contact the university for further information
European Baccalaureate:: 80-75% with at least one humanities subject

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading). Recognised English Language qualifications include:

IELTS: 6.5 overall (minimum 6.5 Writing with no less than 6.0 in any component)
TOEFL: Internet-based score of 92 overall (minimum 21 in Speaking component, 21 in Writing component, 20 in Reading component and 18 in Listening components.
PTE: 62 overall (minimum 62 Writing component with no less than 55 in any component).

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the high level of academic and English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview. However, for some students an interview will be requested. These are normally quite informal and generally cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.

Students will have the opportunity to meet with an academic individually on a Visit Day in order to gain a deeper insight into the course(s) you have applied for.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.

Deferred Entry - We welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above, then please contact the University directly for further information.

GCSE Offer

Students are required to have GCSE Mathematics and GCSE English Language at Grade C or above.

Assessment

For the majority of candidates the most important factors in assessing the application will be past and future achievement in examinations, academic interest in the subject being applied for, personal interest and extra-curricular activities and the confidential reference.

We consider applicants as individuals and accept students from a very wide range of educational backgrounds and spend time considering your application in order to reach an informed decision relating to your application. Typical offers are indicated above. Please note, there may be additional subject entry requirements specific to individual degree courses.

Fees and Funding

University Fees and Financial Support: UK/EU Students

https://www.uea.ac.uk/study/undergraduate/finance

University Fees and Financial Support: International Students

The University will be charging International students £12,300.00 for all full time School of Film and Television Studies undergraduate programmes which start in 2013.

Please click to access further information about fees and funding for International students.

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (Film and Television)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.