Undergraduate Degrees

BA Film Studies and Art History ( WV63 )

UCAS Course Code:: WV63
Duration:: 3 years
Attendance:: Full Time
Award:: Degree of Bachelor of Arts
School of Study:: Art History and World Art Studies
Brochure:: World Art Studies and Museology Undergraduate Brochure (PDF)
Typical A-Level Offer:: AAB including at least one humanities essay-based subject

Overview
Why Choose Us
Course Profile
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Providing an exciting opportunity to connect two areas of visual culture central to modernity, this degree involves simultaneous study in the School of Film, Television and Media Studies, and the School of World Art Studies and Museology. This degree enables you to combine analysis of the moving image, as it has been produced in a variety of contexts and periods up to the present day, with the study of art history in Europe, North and South America, Asia, Africa and the Pacific. Modules are taught by lecturers with direct experience of film making, as well as internationally-recognised experts in film studies and art history. Through this programme, students benefit from the high levels of expertise and enthusiasm for images and image-making available in both Schools.

Starting with an introduction to key ideas and issues in film studies and art history, this joint degree then enables you to develop your own interests in the second and third years, through more detailed studies as well as experience of film-making. Flexible enough to allow you to explore new issues and forms in both disciplines, this degree offers a balanced range of modules in film studies and art history, as well as opportunities to work directly on video, documentary and television studio productions.

The Course Structure

The degree combines teaching in small seminar groups with lecture modules, giving flexibility and allowing you to put together a customised programme which reflects your own interests in artistic and filmic production across cultures and time. A spine of core modules running through the first and second years is designed to develop your understanding of art history and film studies.

During the first year, modules introduce you to film history, to the analysis of films and television programmes, and to the consideration of key themes and methods of interpretation in art history. From the beginning, you will be encouraged to engage with the historical and cultural meanings of images. The film studies modules taken in this year analyse the technological and stylistic changes which have defined cinematic history in the nineteenth and twentieth centuries, and modules involve film screenings and seminar discussion groups.

The second-year lecture modules in art history focus on art’s relationship to performance and display, before exploring different methodological approaches to art-historical analysis from the eighteenth century through to the most up-to-date theories. You will also take a module on film theory which addresses contemporary issues in film studies. Second-year seminar modules (of which you will choose five from the wide range on offer in both Schools) allow you to develop your pre-existing interests in art and film, to explore new issues and periods in both disciplines, and to discover the connections between them. In film studies, for example, you can pursue one of the practical options in film or studio production, or work on specific film genres.

Third-year teaching is entirely through small-group seminar modules which involve the advanced and in-depth study of particular artistic and filmic forms. As in the first and second years, modules can be chosen according to your own interests and skills needs, preparing you to pursue your career after graduation. The 9,000-word dissertation, on a topic of your own choice and supervised by a member of faculty in the School of World Art Studies, represents an important part of the final year and introduces you to the skills of academic enquiry, research and writing needed for postgraduate study.

Assessment

Key skills, issues and ideas are introduced in lectures given by all members of faculty, including art historians, film historians, anthropologists and archaeologists. More specialist study is undertaken in small group seminars.
These are chosen from a range offered within the School and across the University. You will also spend time studying and researching in the library or carrying out practical work or projects. In most subject areas, you are assessed at the end of each year on the basis of coursework and, in some cases, project and examination results.

In your final year, you will write a dissertation on a topic of your choice 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.

Course Organiser:Dr. Simon Dell

Why choose us Our teaching received a 96% satisfaction rate in both the 2012 National Student Survey and the 2013 Guardian University Guide league table.

Our students are able to study a wider range of artistic cultures, periods and forms than in any other art history department in the UK. The School is particularly renowned for its broad approach to art, encompassing ancient, medieval, Renaissance, baroque, modern and contemporary European art, American art, African art, Asian art and Pacific art. Staff, students and researchers in the School are interested in the history of art, as well as archaeology, anthropology, cultural heritage, and museum studies.We engage with all forms of visual and material creativity from oil painting, sculpture and drawing through to architecture, photography, video and installation art. We teach small groups of students in a friendly, supportive and open environment, supported by great facilities. This is why the Guardian University Guide consistently ranks us among the top departments in the UK for student satisfaction with teaching and feedback, for staff-student ratio and for the quality of student resources.

The School has a long-standing international reputation for excellence; ranked 1st in the UK for world-leading research in the latest Research Assessment Exercise, we are one of the most important and highly-rated History of Art departments in the UK. Our graduates go on to high profile posts in such prestigious institutions as the British Museum, V&A, Tate and Metropolitan Museum of Art in New York, as well as leading History of Art departments, publishers and the commercial art world.

The School of Art History and World Art Studies is based in Norman Foster’s world-famous Sainsbury Centre for Visual Arts, an icon of modern design, which contains an astounding art collection with major internationally-renowned works by artists such as Francis Bacon, Edgar Degas, Jacob Epstein, Henry Moore and Pablo Picasso. Students work in close proximity to this collection, “perhaps the greatest resource of its type on any British campus” according to the Times Good University Guide.

95% of our History of Art graduates (and 88% of the School’s BA graduates overall) go on to work and/or postgraduate study within 6 months of graduating. We are therefore the highest-rated department in England (and joint first in the UK) for History of Art graduate prospects
100% of our History of Art graduates (and 97% of the School’s BA graduates overall) said they thought staff had made the subject interesting. This figure was matched by just one other History of Art department in England
Almost 90% of the School’s BA graduates said that they had received the advice and support they needed to do well in their studies, a figure exceeded by just two other History of Art departments in the UK. This is probably because – as the survey reveals – our students get more lectures, seminars, tutorials and general contact time with academic staff than students at many other leading History of Art departments in the UK
96% of our History of Art graduates said they had been provided with the IT resources they needed for their studies, a figure matched by just one other History of Art department in the UK
Finally, 94% of the School’s BA graduates overall said they were highly satisfied with the quality of their degree course, continuing our tradition of providing a first-class university education in History of Art as well as Archaeology, Anthropology, and Museum and Gallery Studies.

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.
FORM, FUNCTION AND MEANING	ART-1L08	20
Most art objects, artefacts and buildings are designed to serve a set of purposes. These may be straightforward and practical or very complex, elusive and difficult to account for. Drawing on a range of case studies from a broad geographical and chronological spectrum, this compulsory lecture module examines how use and function helps to explain why art objects, artefacts and buildings look the way they do. Building on this, the module then considers whether meaning is rooted in original, intended functions or in later changes in use or somewhere else entirely.
LEARNING FROM ARTEFACTS	ART-1S03	20
The aim of this module is to convey some of the basic principles, methods and problems involved in studying artefacts and art objects, be they small or large, two or three-dimensional. The module draws on the visual and architectural resources of Norwich and the Sainsbury Collection. It is taught by a series of lectures, group discussions and presentations.
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.
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 (60 credits)

Students must study the following modules for 60 credits:

Name	Code	Credits
CATEGORIES AND CONCEPTS	ART-2L06	20
This compulsory lecture module examines how artefacts are approached in the different disciplines of archaeology, anthropology and art history. This examination is conducted by exploring the histories of the various disciplines in order to reveal how they have developed their procedures and conceptual tools.
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 André Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Bálázs; 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.
VISUAL DISPLAY	ART-2L05	20
This module examines the variety of ways in which visual displays operate - displays such as, for example, public rituals and art exhibitions. It investigates the many factors influencing how we are presented with and respond to artefacts and art objects. To do this, the module is structured around a series of historical and contemporary case studies drawn from around the world. The central aim is to promote and develop a critical awareness of the issues and complexities surrounding past and present visual displays.

Option A Study (20 credits)

Students will select 20 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 AND TELEVISION STUDIES SEMESTER ABROAD	FTMF2F98	60
A Semester Abroad for students in the School of Film and Television Studies.
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.
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 André Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Bálázs; 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.
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.
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.
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	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.
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.
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

Option B Study (20 credits)

Students will select 20 credits from the following modules:

Name	Code	Credits
ARCHAEOLOGICAL FIELD METHODS	ART-2Q14	20
THIS MODULE IS COMPULSORY FOR VOLO/VOLX STUDENTS. The aim of this module is to provide students interested in archaeology with a good grounding in field practice. This predominantly practical module will be taught mostly at the offices of Norfolk Archaeology Unit and you will have the opportunity to gain experience of archaeological fieldwork on an archaeological excavation or survey. You will learn what happens to the material that is amassed from archaeological fieldwork and how archaeologists build up a picture of how people lived in the past from the things they left behind.
ART AND ARCHITECTURE IN VENICE	ART-2V08	20
The module prepares for the study of Venetian art and architecture undertaken in Venice for ten days in the co-requisite unit ART-2V10.
ARTS OF THE BOOK & DISPLAY OF LITERACY IN THE 1ST MILLENNIUM	ART-2Q01	20
Literacy and writing were among the most enduring legacies of the Roman world. This unit will look at how script was used, particularly in conjunction with images in Late Antiquity and the early Middle Ages. It will consider the birth and evolution of the codex, the modern book and the development of new traditions of writing, illustration and decoration, in the book and in other media, in both religious and secular contexts. Issues considered will include manufacture, materials, scribes and scriptoria, text and image, the illuminated initial letter and the display of literacy.
CATEGORIES AND CONCEPTS	ART-2L06	20
This compulsory lecture module examines how artefacts are approached in the different disciplines of archaeology, anthropology and art history. This examination is conducted by exploring the histories of the various disciplines in order to reveal how they have developed their procedures and conceptual tools.
CONCEALING AND REVEALING: ANCESTORS, SPIRITS AND KINGS	ART-2Z38	20
This module investigates what is represented in African art objects. Sometimes what is revealed by objects when in use is secondary in importance to what is concealed. The external agencies which motivate and empower objects may often lie in the domain of spirits. Kings themselves are often also regarded as spirits. How does that come through in the regalia kings wear, the places they live in and their decorative schemes? The module examines figural sculpture, the arts of divination and masquerade, shrines and funerary monuments. African Islam and Christianity are examined as further arenas for artistic and architectural expression. The final sessions look at the body as a site of artistic intervention and particularly at how it comes to articulate the complexities of identity in contemporary contexts.
CONTEMPORARY GALLERY AND MUSEUM STUDIES	ART-2Z13	20
The issues facing galleries and museums in contemporary times are many: issues to do with the status of collections, their display, questions of finance and audiences, acquisitions and in certain circumstances disposal and repatriation in the case of objects from overseas. This module examines these questions in detail, focusing on a number of case studies to provide a detailed understanding.
DISPLAYING THE PAST	ART-2Z30	20
Most, if not all, art galleries and museums are inherently engaged with the past. The choices they make about what to display, and how to display it, have been influential in shaping the interpretation of both distant and more recent periods and cultures. How have museums and galleries used the past to make statements about their own societies - consciously or not? This module will use both historical and present-day case studies to explore this question and related issues. Although the module focuses in particular on antiquities and the ancient world, the range of potential topics is broad.
ERASMUS SEMESTER ABROAD	ART-2E01	60
A semester abroad at an approved university within the Erasmus network.
ERASMUS SEMESTER ABROAD	ART-2E02	60
A semester abroad at an approved university within the Erasmus network.
ERASMUS YEAR ABROAD	ART-2E0Y	120
A study year abroad at an approved university within the Erasmus network.
FIELDWORK, ART AND ARCHITECTURE IN VENICE	ART-2V10	20
The study of Venetian art and architecture undertaken in Venice for ten days following preparation in the co-requisite module ART-2V08. As a guide, at current figures we expect the trip to cost in the region of 800 pounds.
IMAGE, WORD AND MODERNITY IN BRITAIN, c.1800-1918	ART-2Z17	20
In this module, we will examine the interaction between the visual and the verbal in British culture during the nineteenth century, looking at images and/or texts produced by William Blake, the Pre-Raphaelite circle, Algernon Swinburne, Edward Burne-Jones, the English social realists, James McNeill Whistler, Aubrey Beardsley and Oscar Wilde, Walter Sickert, the Bloomsbury group and artists/poets of the First World War. In turn, we will consider the ways in which art historians, poets, novelists, literary critics and theorists have considered the often-vexed relationship between image and word. Thus, while largely chronological in form the course requires students to engage with the theoretical and critical literature on image/word relations, and considers issues such as the title, the calligram, ekphrasis, visual humour and the aesthetics of texts.
INDIGENOUS ARTS AND INDIGENOUS PEOPLES	ART-2Z28	20
This module begins by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The module continues by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making. The module aims to foster an inter-disciplinary approach.
INTRODUCTION TO JAPANESE ART AND ARCHAEOLOGY	ART-2Z36	20
Building on the Japanese holdings of the Sainsbury Centre for Visual Arts, the module will survey major developments in ceramics, lacquer, metallurgy, sculpture, architecture, painting and photography. Cross-cutting themes will include links between ancient and modern, with northeast Asia and beyond, connoisseurship, collecting and exhibiting Japan's artistic and archaeological heritage. The course offers students a comprehensive introduction to the fascinating art and archaeology of the Japanese archipelago, from Heian to Edo, from Okinawa to Hoddaido, and from the stone age to the contemporary.
MATERIAL WORLDS	ART-2X89	20
Recent research in archaeology and anthropology has begun to reframe questions posed by the study of material culture. This module introduces some contemporary archaeological and anthropological perspectives on art and material culture. Case studies are drawn from around the world. This module is compulsory for V0L0 and V0LX students. It is taught jointly by an archaeologist and an anthropologist.
NORTH AMERICA /AUSTRALASIA COMPULSORY YEAR ABROAD	ART-2AOY	120
Year abroad in North America or Australasia. Reserved for students on V354U1 and VOLXU1.
THE ANTHROPOLOGICAL HISTORY OF THE BLACK ATLANTIC	ART-2Z29	20
This module is an interdisciplinary approach to the cultural history of the African Diaspora to the Americas, mainly Latin America and the Caribbean. It follows a chronological sequence from the rise of slave trade, the formation of creolized societies, and the fight for freedom to the contemporary discussions around African heritage in the Americas. Drawn from the most updated and authoritative scholarship on the connections between West Africa and the Americas, the course aims to discuss the dynamics of transposed cultures and the reconstruction of meanings about ancestorhood, ethnicity, heritage, gender relations and religious authority in the context of the formation of new socialities.
VISUAL AND VERBAL IN MEDIEVAL CULTURE	ART-2X90	20
The focus of this module is two-fold. Its interdisciplinary range encourages students to consider the potential of both verbal and visual forms of representation, meanwhile developing a sense of the variety of medieval culture. Some sessions address medieval modes of thought and representation, such as narratives, discourses and allegories; others focus on major objects such as the Bayeux Tapestry and the Song of Roland. The module is co-taught by faculty from ART and LIT. No previous experience of medieval studies is required.
VISUAL DISPLAY	ART-2L05	20
This module examines the variety of ways in which visual displays operate - displays such as, for example, public rituals and art exhibitions. It investigates the many factors influencing how we are presented with and respond to artefacts and art objects. To do this, the module is structured around a series of historical and contemporary case studies drawn from around the world. The central aim is to promote and develop a critical awareness of the issues and complexities surrounding past and present visual displays.
WORLD ARCHITECTURE? RETHINKING THE 'BAROQUE' THROUGH JESUIT CHURCHES	ART-2Z25	20
A recent exhibition at the Victoria and Albert Museum proposed that the 'Baroque' style was a world-wide phenomenon, the first of its kind. But is that really so? And what issues and problems arise when art-historical enquiries are structured by a (putatively) global notion of style? If we are to study global phenomena, is style in fact a helpful art-historical category at all? To test such questions, this module focuses on one type of building, churches, erected in great numbers for one of the first truly global institutions, the Jesuit order. From the middle of the sixteenth century and for the following two hundred years, this order of Roman Catholic missionaries presided over the building and decoration of churches in places as diverse as Rome, Venice, Antwerp, Paris, Munich, Madrid, Lima, Beijing and Goa. Moreover, for art historians in the early twentieth century, the Jesuits were closely associated with the coming of the 'Baroque'; this is what makes them into an ideal case-study for addressing the above questions. The module thus investigates the relationship between style, architecture, agency and institutional patronage but on a truly global scale.

Free Choice Study (20 credits)

Students will select modules worth 20 credits from the course catalogue with the approval of their School

Compulsory Study (60 credits)

Students must study the following modules for 60 credits:

Name	Code	Credits
DISSERTATION IN FILM STUDIES AND ART HISTORY	ART-3D3Y	40
ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9-10,000 word dissertation.
WORLD ART: ISSUES AND DEBATES	ART-3L01	20
In this compulsory third-year lecture course the frameworks of world art are addressed. The wider issues of European boundaries, the movement and trade of objects across frontiers, national identities, globalisation and cultural hybridity are also discussed.

Option A Study (30 credits)

Students will select 30 credits from the following modules:

Name	Code	Credits
ART OF ANCIENT MESOPOTAMIA	ART-3Y34	30
Ancient Mesopotamia is recognisable today by two of its most impressive and powerful cultures; the Sumerians and the Assyrians. Situated between the Euphrates and the Tigris Rivers, Mesopotamia remained largely autonomous for nearly 3000 years, during which time its power and influence over neighbouring regions ebbed and waned. At the heart of Mesopotamian society was competence and skill in a broad range of arts and crafts, but it is most famous for being the world's first literate society. Along with writing, the glue of Mesopotamian society was cultic practice and religious belief, most visibly attested in the art of temples and burials. At all periods art was fundamental to Mesopotamian culture; it coloured their rituals and beliefs, it was integral to their writing system, and was used in both politics and warfare. This module will explore the significance of artistic practice in the development of Mesopotamian society.
ARTS OF THE PACIFIC: AGENCY OF REPRESENTATION	ART-3Y26	30
Representations are not unconditional or without engagement. In this module, representation is not merely understood as praxis, but as praxis with agency. Following Alfred Gell's notion of the agency of art, we will consider representation as a process that not merely describes, displays and communicates, it also does. Clues to its agency lie in the processes from which it emanates and in which it eventuates. We will discuss contemporary views on the Pacific by particularly focusing on the role of visual and material culture in these representations. The aim of this module is to promote a critical awareness of what artefacts socially do in the Pacific, to understand how they materialise relationships, are condensations of knowledge and how people use these forms to engage with their life worlds.
DISSERTATION IN ART HISTORY AND HISTORY	ART-3H0Y	40
An interdisciplinary project on some topic concerned with the relationship between history and art history. The subject of the dissertation must be approved by the module organiser. The dissertation should be 9,000 words in length and should be completed in the second semester of this double module.
DISSERTATION IN ART HISTORY AND LITERATURE	ART-3P0Y	40
RESERVED FOR STUDENTS ON THE VQ32U1 COURSE. An interdisciplinary project on some topic concerned with the relationship between literature and the other arts. The subject of the project must be approved by the module organiser. The project should be 9,000 words in length and should be completed in the second semester of this double unit.
DISSERTATION IN FILM STUDIES AND ART HISTORY	ART-3D3Y	40
ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9-10,000 word dissertation.
DISSERTATION IN THE HISTORY OF ART WITH GALLERY AND MUSEUM STUDIES	ART-3G2Y	40
ART students on this module undertake a research project in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation
DISSERTATION IN WORLD ART STUDIES	ART-3D2Y	40
ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.
GALLERIES AND MUSEUMS PRACTICE	ART-3Y22	30
Galleries and museums as public bodies have a range of legal, administrative and curatorial responsibilities placed upon them. This module looks at the mechanisms that are in place to respond to these demands, looking at conservation and curation, at educational practice, governance and funding challenges. THIS MODULE IS NOT AVAILABLE IN 2011/12.
INVASION AND INVENTION: ART IN ENGLAND 1020-1135	ART-3X02	30
England was invaded twice during the 11th century, by Danes and Normans. Despite the resulting upheavals the period was one of the most productive of art and architecture that the country has ever experienced. Major and complex new buildings appeared at a remarkable rate and were elaborately decorated and furnished. Dozens of new libraries were created and stocked with manuscripts. How did historical circumstances and cultural activity interact in this environment? We shall explore this question through artefacts such as the Bayeux tapestry, Canterbury Cathedral and the Tower of London. In effect we shall be using '1066 and all that' to examine the relationship between art and history.
N AMERICA/ AUSTRALASIA EXCHANGE PROGRAMME DISSERTATION	ART-3A1Y	40
A project on some aspect of the exchange between cultures. The subject of the project must be approved by the module organiser. The project should be 9,000 words in length.
SPACES OF CONTEMPORARY ART	ART-3Y33	30
This module takes as its point of departure the proposition that the experiences of space described in David Harvey's The Condition of Postmodernity provide a useful means of addressing contemporary art. The module begins with an examination of the contemporary spaces of display, including large temporary exhibitions (the Venice Biennale etc.) and the relatively new institutes which perhaps dominate the work they present (Tate Modern, the Bilbao Guggenheim etc.). We will then turn to look at the ways artists have negotiated these spaces, embracing them through installation work, exploiting them to provide arenas for participation, or resisting them with site-specific displays. We will also consider alternatives which circumvent these spaces through the use of digital technologies.
TRANSPORTED SUBJECTS: BRITISH ART AND GLOBAL ENCOUNTER IN THE EIGHTEENTH AND NINETEENTH CENTURIES	ART-3Y17	30
Structured as a geographical tour in which the particular issues and artworks provoked in British subjects by the West Indies, North America, the Pacific, Asia and Africa are addressed and thematically interlinked, this course explores the ways in which 'British' visual culture was transformed by global contact. Analysing the works of artists such as John Singleton Copley, Sir Joshua Reynolds, JMW Turner and William Holman Hunt in a range of media including painting, sculpture and photography, we will consider issues such as the problems involved in representing slaves, the Gothic visual effects of American independence in Britain, the distinctive forms of British oriental imagery, and the ways in which art registered revised conceptions of 'home' (Britain itself, both our departure point and our final destination) in the face of imperial and global experience.
VISUAL KNOWLEDGE AND EARLY MODERN GLOBALIZATION (1450-1650)	ART-3Y19	30
Cross-cultural encounters and new forms and uses of visual imagery overlapped in intriguing ways in the early modern period. A range of practices and interests—from trade to collecting, and from natural philosophy to religion—brought Europeans into new relations with topography, flora and fauna, people, rituals, costumes and objects from unfamiliar locales. Focusing on the Mediterranean and Atlantic contexts, this module explores how encounters were mediated by diverse forms of visual imagery (ethnographic, still life, scientific), representational practices (naturalism, drawing, cartography, print), and systems of classification (memory, morphology, collections).
WORLD ART: ISSUES AND DEBATES	ART-3L01	20
In this compulsory third-year lecture course the frameworks of world art are addressed. The wider issues of European boundaries, the movement and trade of objects across frontiers, national identities, globalisation and cultural hybridity are also discussed.
WORLD ART: ISSUES AND DEBATES	ART-3L03	30
This module is a 30-credit version of ART-3L01, 'WORLD ART: ISSUES AND DEBATES. It may only be taken by non-ART and visiting students.

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.
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.
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.
MANGAMANIA AND JAPAN	HUM-3J03	20
This is a 20-credit version of HUM-3J03 MANGAMANIA AND JAPAN and it available only to Visiting Students.
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.
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.
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.

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

A Level:: AAB including at least one humanities essay-based subject
International Baccalaureate:: 33 points including at least one Higher Level humanities essay-based subject
Scottish Highers:: At least one Advanced Higher preferred in addition to Highers
Scottish Advanced Highers:: AAB including at least one humanities essay-based subject
Irish Leaving Certificate:: AAAABB including at least one humanities essay-based subject
Access Course:: Please contact the university for further information
HND:: Please contact the university for further information
European Baccalaureate:: 80% including at least one humanities essay-based 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 6.0 in Reading and Writing with no less than 5.5 in any component)
TOEFL: Internet-based score of 88 overall (minimum 20 in Reading and Speaking components, 19 in Writing component and 17 in Listening components.
PTE: 62 overall (minimum 55 in Reading and Writing components with no less than 51 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.

We also 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 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

Further information on fees and funding for 2012 can be found here

University Fees and Financial Support: International Students

The University will be charging International students £11,700.00 for all full time School of World Art Studies and Museology undergraduate programmes which start in 2012.

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 (World Art Studies and Museology)
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.