Back to Course List
World Art Studies and Museology Undergraduate Brochure (PDF)
BA Film Studies and Art History
UCAS Course Code
WV63
Attendance
Full Time
Award
Degree of Bachelor of Arts
School of Study
Typical A-Level Offer
AAB including at least one humanities subject
Course Organiser
Dr. Simon Dell
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.
World Art Studies and Museology Undergraduate Brochure (PDF)
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.
UniStats Information
Compulsory Study (120 credits)
Students must study the following modules for 120 credits:
| Name | Code | Credits |
|---|---|---|
| ANALYSING FILM AND TELEVISION 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. | FTMF4002A | 20 |
| FILM, TELEVISION AND NEW MEDIA 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 examines the contemporary situation of the media by examining the ways in which the emergence of new media have 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. | FTMF4007B | 20 |
| FORM AND FUNCTION Most works of art, whether objects, buildings, or performances, are designed to serve a set of purposes. The interrelationship of their forms and their functions may be straightforward and practical, or complex and elusive. Drawing on a range of case studies presented by ART staff, this lecture module examines the connections between the uses, meanings and appearances of art. We will also consider how form and function may change over time, especially in the context of cross-cultural contact. | ART-4003B | 20 |
| LEARNING FROM OBJECTS This module helps equip students with the skills and knowledge they need to study objects from around the world, from prehistory to the present day. Drawing on the collections of the Sainsbury Centre for Visual Arts and of the Castle Museum and Art Gallery, as well as the architecture of Norwich, we will explore the ways in which materials, contexts and histories affect how objects have been made and used. Through readings, discussions and object handling, we challenge assumptions and preconceptions about different kinds of art. In the process, students develop their abilities in library research, academic writing and referencing, and oral presentations. | ART-4007A | 20 |
| STUDIES IN FILM HISTORY This module provides an introduction to the history of film from the mid to late 20th Century, familiarizing students with key points of reference in the field. However, the module is also designed to familiarize 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. | FTMF4001B | 20 |
| WHAT IS FILM HISTORY? 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 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 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 will be taught by lecture, seminar and screening. | FTMF4003A | 20 |
Students cannot take more than one practical Film or Television Studies unit in year 2 (ie units designated FTMP5-).
Compulsory Study (40 credits)
Students must study the following modules for 40 credits:
| Name | Code | Credits |
|---|---|---|
| CATEGORIES AND CONCEPTS This module introduces students to some of the most significant methodologies (âconceptsâ) in the analysis of art, before considering some of the intellectual âcategoriesâ which have been â and continue to be â central to thinking about cultural and artistic forms. The module offers both an introduction to some of the major approaches adopted by scholars in the humanities and social sciences, and a conceptual toolkit with which to engage critically with art and its meanings. Ideas and texts addressed in the module are drawn from a range of disciplines, including critical theory, politics, philosophy and aesthetics. The module is taught through a combination of two weekly lectures and one discussion seminar. The lectures offer an introduction to the relevant topic, and end with a question for us to discuss/debate in the final 10 minutes of the lecture period. The discussion seminars will consider key issues in the previous weekâs lectures and the weekly class readings which accompany them. | ART-5020B | 20 |
| FILM THEORY 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. | FTMF5010A | 20 |
Option A Study (20 credits)
Students will select 20 credits from the following modules:
| Name | Code | Credits |
|---|---|---|
| ANIMATION 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 âanimationâ 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. | FTMF5004A | 20 |
| BRITISH CINEMA AND THE PAST 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. | FTMF5002B | 20 |
| BRITISH CINEMA SINCE 1990 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. | FTMF5011A | 20 |
| BRITISH FILM and TELEVISION The module will explore the key issues in the analysis of British film and television. It will cover the conditions of their production, mediation and consumption, while also providing opportunities for close analysis of key texts, figures and periods. For example, it will examine the British film studios and the developing relations between film and television production; it will discuss the claims about the realist tradition within British film and television production, while simultaneously examining the centrality of spectacle within British film and television; it will analyse a range of British genres; it will explore debates over the situation of British stars and directors; it will study the preoccupation with historical materials in British film and television production; and, finally, it will scrutinize the concept of national cinema and observe the importance of international markets to both film and television production, an importance that dates back to the earliest days of both media. THIS MODULE IS AVAILABLE FOR INTERNATIONAL SUMMER SCHOOL STUDENTS ONLY | FTMF5023S | 20 |
| CINEMA BEYOND HOLLYWOOD Cinema Beyond Hollywood offers students the opportunity to learn about films in relation to cultures from around the world. It introduces a wide range of popular and marginalised national cinemas including examples from Europe, Asia, and the Middle-East in order to challenge student understandings of how cinema works around the world. In this way, this module seeks to expand student horizons beyond the dominant norms of global Hollywood filmmaking. Therefore, during this module students investigate how national, regional, transnational and world cinema labels are used to create alternative spaces for films in a crowded global marketplace for films that reaches from the glamour of the Cannes Film Festival to screenings of films banned at home and smuggled out to international screening venues. Students are also introduced to some of the major frameworks used to analyse the global trafficking in film cultures: from textual analysis, to cultural economics, to ideological and institutional approaches. These will be used by students in their investigations of particular case studies during the semester, and also in project work. | FTMF5024A | 20 |
| FILM AND AUTHORSHIP 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. | FTMF5007B | 20 |
| FILM AND TELEVISION STUDIES SEMESTER ABROAD A Semester Abroad for students in the School of Film and Television Studies. | FTMF5016B | 60 |
| FILM GENRES 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. | FTMF5015A | 20 |
| FILM THEORY 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. | FTMF5010A | 20 |
| GENDER AND BRITISH CINEMA This module will focus on gender representations in British cinema from the 1930s up to the 1990s. It will examine key genres such as comedy, horror, adventure film, thriller and costume drama, in terms of their mediation of masculinity and femininity; in doing so it will also offer a general introduction to this particular national cinema, albeit with a fresh and innovative perspective. Providing an opportunity for the sustained study of gender issues in relation to cinema, and taking in a range of historically and thematically diverse films, this module will trace the changing images of men and women in twentieth century British cinema as those films in turn mediated wider changes in British society. | FTMF5025A | 20 |
| INTRODUCTION TO VIDEO PRODUCTION 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. | FTMP5021A | 20 |
| INTRODUCTION TO VIDEO PRODUCTION 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. | FTMP5022B | 20 |
| MEDIA INTERNSHIP 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. | FTMF5008A | 20 |
| MEDIA INTERNSHIP 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. | FTMF5009B | 20 |
| POPULAR MUSIC 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. | FTMF5012B | 20 |
| RECEPTION AND AUDIENCE STUDIES IN FILM AND TELEVISION 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. | FTMF5003A | 20 |
| RESEARCH TRAINING 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. | FTMF5005B | 20 |
| SCRIPT ANALYSIS AND STORY STRUCTURE 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 âPoeticsâ 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. | FTMF5014B | 20 |
| TELEVISION GENRE 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. | FTMF5013B | 20 |
| TELEVISION STUDIO PRODUCTION 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. PLEASE NOTE - This module needs a minimum of 12 students enrolled to run, if the target enrolment is not met there is a chance the module will be withdrawn. | FTMP5019B | 20 |
| TELEVISION STUDIO PRODUCTION 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. PLEASE NOTE - This module needs a minimum of 12 students enrolled to run, if the target enrolment is not met there is a chance the module will be withdrawn. | FTMP5020A | 20 |
| THE BUSINESS OF FILM AND TELEVISION 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. | FTMF5006A | 20 |
| THE PRACTICE OF SCREENWRITING: ISSUES IN ADAPTATION 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. | FTMP5017B | 20 |
| THE PRACTICE OF SCREENWRITING: ISSUES IN ADAPTATION 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 | FTMP5018A | 20 |
Option B Study (40 credits)
Students will select 40 credits from the following modules:
| Name | Code | Credits |
|---|---|---|
| "THE ARTS IN BRITAIN FROM SUTTON HOO TO THE BOOK OF KELLS, c. 600-850" This module will focus on the visual arts and architecture in the British Isles beginning with the age of Sutton Hoo and the arrival of Christianity from Ireland and Rome. The formation of new kingdoms, the establishment of the church, contacts with Continental Europe and the enduring life of indigenous cultural traditions all contributed to the development of extraordinarily various, inventive and sophisticated new visual paradigms, in building, in stone carving, metalwork and the arts of the book. | ART-5021A | 20 |
| AMERICAN ART AND AMERICAN PHOTOGRAPHY 1900-1950 This unit examines the relations between art and photography in the United States in the first half of the 20th century. The central debate in American modernism has concerned the role of the medium and considering photography in relation to the other visual arts permits a reassessment of this debate. Artists and photographers examined include Alfred Stieglitz, Georgia OâKeeffe, Marcel Duchamp, Diego Rivera and Walker Evans. | ART-5023B | 20 |
| ARCHAEOLOGICAL FIELD METHODS The aim of this module is to provide students interested in archaeology with a good grounding in field practice. This module builds on what you learned in Introduction to Archaeology by reinforcing your understanding of the archaeological process. You will examine the principles of archaeological field techniques, including desk-based data gathering, field prospection, post-excavation analyses and dissemination. Archaeology is a discipline that relies upon the successful integration of the largely scientific act of data collection (fieldwork and subsequent analyses) against the largely theoretical and conceptual elements of interpreting the archaeological record. Getting the balance right is a perennial issue and one that will be explored in this module. The module is tutorial based but students will be expected to undertake some practical work during the semester. | ART-5006B | 20 |
| ART AND ARCHITECTURE IN VENICE The fascination that Venice holds for many is intensified by the cityâs fragility. Once the centre of a vast empire, the city is sinking as the waters of the Adriatic rise and the resident population continues to dwindle. As the lagoon city crumbles, it has been recreated in the desert of Las Vegas as âa Venice more real than Venice itself.â The model for this new development was the stunning topography of the Renaissance city, then a commercial and cultural crossroads. Venice was described as the âtheatre of the worldâ: a stage teeming with people âwho come together from various nations, in fact from all of the world.â Protected against foreign invasions by its strategic site, Venice maintained its independence for a millennium until the entry of Napoleon in 1797. The remarkable longevity of this maritime republic was sustained by its mixed constitution and an array of rituals, institutions, and artworks designed to promote social order and guard against internal strife. This module provides a foundation for the study of Venetian art and architecture undertaken in Venice for 14 days in the co-requisite module ART-2V10. It is an introduction to the history of the city, its architecture and art and to a number of related contexts, economic, political, social and cultural. We will examine the distinctive pictorial and architectural traditions and innovative strategies developed by artists and architects including the Bellini, Giorgione, Lotto, Titian, Tintoretto, Veronese, Codussi, Sansovino, Palladio and Longhena. Civic ritual, costume and printed imagery are further areas of inquiry with which to explore issues of identity, ethnicity, technology, tourism, festivals, and popular culture. | ART-5007B | 20 |
| CATEGORIES AND CONCEPTS This module introduces students to some of the most significant methodologies (âconceptsâ) in the analysis of art, before considering some of the intellectual âcategoriesâ which have been â and continue to be â central to thinking about cultural and artistic forms. The module offers both an introduction to some of the major approaches adopted by scholars in the humanities and social sciences, and a conceptual toolkit with which to engage critically with art and its meanings. Ideas and texts addressed in the module are drawn from a range of disciplines, including critical theory, politics, philosophy and aesthetics. The module is taught through a combination of two weekly lectures and one discussion seminar. The lectures offer an introduction to the relevant topic, and end with a question for us to discuss/debate in the final 10 minutes of the lecture period. The discussion seminars will consider key issues in the previous weekâs lectures and the weekly class readings which accompany them. | ART-5020B | 20 |
| CONCEALING AND REVEALING: ANCESTORS, SPIRITS AND KINGS 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. | ART-5018B | 20 |
| CONTEMPORARY GALLERY AND MUSEUM STUDIES As contemporary arts practice evolves, the space and functions of the museum are also changing. This module looks at the contexts of displaying contemporary art since the 1960s, including artist-led interventions in museums and galleries. These artistic interventions are relevant to museum professionals and art historians alike, because they go beyond the critique of museumsâ public spaces to question how museums work behind the scenes. Students on this module will gain an insight into contemporary art curating, the contribution that artists make to international debate, and some of the strategic issues that face museums and galleries today. | ART-5011A | 20 |
| CRITICAL THINKING The main purpose of this module is to develop your critical skills as they pertain to thinking, reading, writing and looking. To deliver this, the module falls into two main sections. The first focuses on one particular methodology â object biographies â used in archaeology, anthropology, museum studies and art history. We shall examine this methodology in detail, breaking it down into its component sections. We shall then consider its strengths and its weaknesses; that is, we will subject it to a thorough critical evaluation. Then, in the second half of the module we shall focus more broadly on what critical thinking is, both in general and within each of the four disciplines taught in the School of World Art Studies. Building on this, the module ends by focusing on how you can apply critical thinking to your own thinking, reading, writing and looking. The module is taught through a combination of two weekly lectures and one discussion seminar. The lectures offer an introduction to the relevant topic, and end with a question for us to discuss/debate in the final 10 minutes of the lecture period. The discussion seminars will consider key issues in the previous weekâs lectures and the weekly class readings which accompany them. | ART-5019A | 20 |
| ERASMUS SEMESTER ABROAD A semester abroad at an approved university within the Erasmus network. | ART-5002A | 60 |
| ERASMUS SEMESTER ABROAD A semester abroad at an approved university within the Erasmus network. | ART-5003B | 60 |
| ERASMUS YEAR ABROAD A study year abroad at an approved university within the Erasmus network. | ART-5004Y | 120 |
| FIELDWORK, ART AND ARCHITECTURE IN VENICE WHILE TAKING THIS MODULE YOU MUST TAKE ART-2V08. In this module, two intense weeks will be spent visiting, studying and discussing some of the principal monuments and works of art in the city. Formally and informally we shall inspect and analyse most of the major and some of the minor buildings, paintings and sculptures as well as certain aspects of the topography and urban fabric of Venice. A number of underlying and overarching themes and issues will run through the module, but inevitably the structures of sessions and the lines of inquiry we follow will be dictated by the monuments themselves and by the aspects of their physical presence, materials, shape, design, iconographic content, siting which are most readily and effectively considered on location. As a guide, at current figures we expect the trip to cost in the region of 900 pounds | ART-5008B | 20 |
| IMAGE, WORD AND MODERNITY IN BRITAIN, c.1800-1918 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. | ART-5012A | 20 |
| INDIGENOUS ARTS AND INDIGENOUS PEOPLES 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. | ART-5022A | 20 |
| INTRODUCTION TO JAPANESE ART AND ARCHAEOLOGY 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 East 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 Okinawa to Hokkaido, and from prehistory to modern times. | ART-5017B | 20 |
| MATERIAL WORLDS Recent research in archaeology and anthropology has begun to reframe questions posed by the study of material culture and art. This module introduces some contemporary archaeological and anthropological perspectives on the study of material culture. Case studies are drawn from around the world. The module is compulsory for V0L0 and V0LX students. | ART-5009A | 20 |
| NORTH AMERICA /AUSTRALASIA COMPULSORY YEAR ABROAD Year abroad in North America or Australasia. Reserved for students on V354U1 and VOLXU1. | ART-5001Y | 120 |
Option C Study (20 credits)
Students will select 20 credits from the following modules:
| Name | Code | Credits |
|---|
Students cannot take more than one practical Film or Television Studies unit in year 3 (ie units designated FTMP6-).
Compulsory Study (30 credits)
Students must study the following modules for 30 credits:
| Name | Code | Credits |
|---|---|---|
| DISSERTATION 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. | ART-6012B | 30 |
Option A Study (30 credits)
Students will select 30 credits from the following modules:
| Name | Code | Credits |
|---|---|---|
| AMERICAN ART AND AMERICAN LANDSCAPE, 1800-1920 During the mid-nineteenth century landscape painting became a central element in American culture. From the formation of American identity to national expansion west, to questions about the modernisation of US society, American landscape painters were key to the representation of the nation to itself. This module looks at the great mid-century American tradition of landscape painting and traces its influence on later American art, from the art of the cities to the inception of the ruralist movement in the early twentieth century. Topics will include, nationalism and national identity and the landscape, the Hudson River School, landscape and city painting, landscapes of east and west, and landscape and the American art world. | ART-6019B | 30 |
| ARCHAEOLOGY AND THE MODERN WORLD This module aims to examine how archaeology relates to contemporary society in various cultural, political and economic contexts. Archaeology, a study of the past through material remains, has informed the ways in which people perceive, understand and use the past. The public image and understanding of the past have, in turn, influenced the ways in which archaeology is practiced and theorised. The module investigates such reciprocal relationships between archaeology and the public, drawing on theories in anthropology and heritage studies, and through case studies from around the world including Japan, Cambodia, Jordan, Australia, Italy, Greece, Kosovo and Britain. Issues addressed include: archaeology and popular culture (e.g. films and games), political use of archaeology, outreach and communication in archaeology, presenting the past in museums, folklore and archaeology, archaeology and the media, and archaeology and economic development. | ART-6020A | 30 |
| ART OF ANCIENT MESOPOTAMIA 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. | ART-6021A | 30 |
| CLEOPATRA'S EGYPT After the death of Alexander the Great in 323 BC, Egypt became first a Hellenistic Greek kingdom and then, from 30 BC, part of the Roman Empire. These political changes heralded much broader socioeconomic and cultural changes as well. This module examines the art and architecture of Hellenistic and Roman Egypt, looking at the development of new styles and technologies and the interaction of Greek and Egyptian visual forms. In the 'multi-cultural' society of Graeco-Roman Egypt, how does artistic change relate to questions of self-presentation and identity? | ART-6008B | 30 |
| DISSERTATION 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. | ART-6012B | 30 |
| GALLERIES AND MUSEUMS PRACTICE 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. | ART-6005B | 30 |
| IMAGE, ICON AND IDENTITY This module will look at ways in which identity was invented and manipulated in the Roman world between the age of Augustus and the rise of Islam. The social standing and ambitions of individuals was projected not only through portraiture but also in the architecture and decoration of private residences and in public works. Similarly, the identity of institutions was visually expressed in the forms of building and artefacts and in the ways in which image and ornament were deployed. Representations of divinity and holiness, including the Christian icon, its veneration and rejection, will be considered alongside imagery of person and power from the secular sphere. | ART-6001A | 30 |
| INVASION AND INVENTION: ART IN ENGLAND 1020-1135 Invasion and Invention explores the interrelationship of art and history using eleventh century England as a case study. In theory it ought to be ideal, since it was a period of great political and cultural change. This is where 'invasion' comes in, since an ostensibly Anglo-Saxon realm (the kingdom of England) was ruled by 'Danes' from 1017-1042 and Normans from 1066-1153. As regards 'invention', alongside the apparently reasonable view that history describes what happened in the past is the more realistic view that all descriptions are partial and rhetorical. We shall have a good deal to say about the rhetoric of text and image in the business conveying notions of history, as it was understood at the time. | ART-6002B | 30 |
| PORTRAITURE AND THE POLITICS OF THE FACE IN EARLY MODERN EUROPE (1450-1650) Recent practices and technologies, such as ethnic profiling and face recognition systems, have drawn attention both to stereotyping and to the singular differences that distinguish us from each other. If this scrutiny of physiognomy and facial expressions is symptomatic of our own political, scientific, and cultural milieu, then how did the human face signify when portraiture was developing as a genre in early modern Europe? This question serves as a departure point for the study of visual imagery of the face during a period in which religious conflict, expanding geographical horizons, and social and scientific changes overlapped with efforts to control the increasingly fraught boundaries of the body. Considering work by a wide range of artists from Durer and Anguissola to Caravaggio and the Carracci, this module explores themes such as self-portraiture and embodiment, realism, ethics, and anthropomorphic images. | ART-6013A | 30 |
| PUBLIC ART, PERFORMANCE AND MEMORY Public art and performances are often staged to commemorate historical events. Monuments and commemorations are meant to make us remember the First World War, the Holocaust, the Slave Trade and Colonialism. This module examines why and how nations and communities commemorate the past and the discussions that has generated about memory, memorials and commemorative art. Central to the module is the question how memorial art makes us remember? And, indeed, whether there are alternative ways of remembering in painting, performance or popular music? The module will consider case studies from across the world. | ART-6014A | 30 |
| SPACES OF CONTEMPORARY ART This module takes as its point of departure the proposition that the experiences of space described in David Harvey's critical geography 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 institutions 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 such as, for example, through the use of digital technologies. | ART-6010A | 30 |
Option B Study (30 credits)
Students will select 30 credits from the following modules:
| Name | Code | Credits |
|---|---|---|
| ASIAN CINEMA '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. | FTMF6016B | 30 |
| ASIAN CINEMA '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.THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY. | FTMF6018B | 20 |
| CELEBRITY 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. | FTMF6013B | 30 |
| CELEBRITY 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. THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY. | FTMF6015B | 20 |
| CREATIVE WORK IN THE MEDIA INDUSTRIES 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 âcreativeâ, to think independently and engage in activities which interest them already. But what does âcreativityâ 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 âgood workâ 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. | FTMF6010A | 30 |
| CREATIVE WORK IN THE MEDIA INDUSTRIES This module is a 20-credit version of FTVF3F57: CREATIVE WORK IN THE MEDIA INDUSTRIES and is available only to Visiting Students. | FTMF6011A | 20 |
| CRIME TELEVISION 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. | FTMF6023B | 30 |
| CRIME TELEVISION This unit is a 20-credit version of FTVF3F92 CRIME TELEVISION and is available only to Visiting Students. | FTMF6024B | 20 |
| FILM AND TELEVISION STUDIES DISSERTATION (SPRING) 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. | FTMF6020B | 30 |
| FILM AND TELEVISION STUDIES YEAR ABROAD DISSERTATION RESERVED FOR STUDENTS ON COURSE: U1TW76401 Final year dissertation involving research into a specific issue or topic in American culture. Restricted to students on the 4-year Film and American Studies programme. Topics will already have been approved on the basis of dissertation proposals submitted during the year abroad. | FTMF6005A | 30 |
| FILM AND TELEVISION STUDIES: DISSERTATION (AUT) 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. | FTMF6019A | 30 |
| GENDER AND GENRE IN CONTEMPORARY CINEMA 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. | FTMF6002B | 30 |
| GENDER AND GENRE IN CONTEMPORARY CINEMA This module is a 20-credit version of FTVF3F10: GENDER AND GENRE IN CONTEMPORARY CINEMA and is available only to Visiting Students. | FTMF6004B | 20 |
| MIDDLE EASTERN CINEMAS The module offers a detailed examination of Middle Eastern cinemas. It focuses on national (including Turkish, Iranian, Lebanese, and Palestinian) cinemas which are brought together not only by their geographical location but also for cultural, social, political and industrial contexts they present. In critically reflecting on these aspects, students explore films and cinemas of the Middle East within their historical contexts. The module concentrates on a range of themes and issues including: the concept of national cinema; Middle Eastern cinemas and âthe Westâ; religion and cinema; cinema and the construction of identities in Middle Eastern films; film directors; film stars; as well as women and sexuality in Middle Eastern films. The module aims to provide students with appropriate theoretical and critical tools in the understanding films, cinemas and visual cultures of the Middle East. By the end of the module students will have learned to read and analyse films critically and treat them as representative of some of the issues inherent in the cultures that produced them. | FTMF6030B | 30 |
| MIDDLE EASTERN CINEMAS The module offers a detailed examination of Middle Eastern cinemas. It focuses on national (including Turkish, Iranian, Lebanese, and Palestinian) cinemas which are brought together not only by their geographical location but also for cultural, social, political and industrial contexts they present. In critically reflecting on these aspects, students explore films and cinemas of the Middle East within their historical contexts. The module concentrates on a range of themes and issues including: the concept of national cinema; Middle Eastern cinemas and âthe Westâ; religion and cinema; cinema and the construction of identities in Middle Eastern films; film directors; film stars; as well as women and sexuality in Middle Eastern films. The module aims to provide students with appropriate theoretical and critical tools in the understanding films, cinemas and visual cultures of the Middle East. By the end of the module students will have learned to read and analyse films critically and treat them as representative of some of the issues inherent in the cultures that produced them. This module is a 20 credit version of FTMF3F04 MIDDLE EASTER CINEMAS and is available ONLY to Visiting Students. | FTMF6031B | 20 |
| PRACTICE-BASED DISSERTATION (AUT) 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. | FTMP6027A | 30 |
| PRACTICE-BASED DISSERTATION (SPR) 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. | FTMP6028B | 30 |
| PROFESSIONAL VIDEO PRODUCTION 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 âclientsâ. This module will provide experience of working in a âreal lifeâ 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. | FTMP6025A | 30 |
| PROFESSIONAL VIDEO PRODUCTION 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 âclientsâ. This module will provide experience of working in a âreal lifeâ 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. | FTMP6026B | 30 |
| SCIENCE FICTION CINEMA 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. | FTMF6001A | 30 |
| SCIENCE FICTION CINEMA 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. This module is a 20-credit version of FTVF3F22: SCIENCE FICTION CINEMA and is available only to Visiting Students. | FTMF6003A | 20 |
| SELLING SPECTACLE 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 âepicâ 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. | FTMF6006A | 30 |
| SELLING SPECTACLE This module is a 20-credit version of FTVF3F45: SELLING SPECTACLE and is available only to Visiting Students. | FTMF6007A | 20 |
| SELLING SPECTACLE 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 and marketed using epic language, hyperbolic visuals and overblown promotional materiaks. Yet despite these excessive claims, the world of 'selling' such spectacle and the marketing techniques that accompany it are often overlooked in academic and critical discussions. This module will explore the advertising and promotional techniques that have been utilised to emphasis and display cinematic spectacle, from posters and press books to trailers, websites and viral marketing campaigns. Following the work of theorists such as Barbara Klinger, Janet Staiger, Jonathan Gray, and Tom Gunning, the module will explore the metholodogically distinct approaches needed to analyse the full range of promotional materials used in the historic and contemporary film industries. Students will be expected to engage with both theories of film advertising and analysis of marketing materials and other related epiphenomena and paratexts. While the module will cover promotional materials for some films that may be described as belonging to the "epic" genre, this module is not concerned with generic traits so much as those spectacular production and marketing practices that have been developed over the last 100 years, and which work to educate audiences about new spectacular imagery, concepts and technologies. Using specific case studies, the module will trace how a range of cinematic spectacles were established and redefined the function of film advertising and promotion. | FTMF6029B | 30 |
| STANLEY KUBRICK: FILMS IN CONTEXT 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. | FTMF6008B | 30 |
| STANLEY KUBRICK: FILMS IN CONTEXT This module is a 20-credit version of FTVF3F52 STANLEY KUBRICK: FILMS IN CONTEXT and is available only to Visiting Students. | FTMF6009B | 20 |
| TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE 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 â highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth â but will also examine young peopleâs 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 | FTMF6012A | 30 |
| TEENAGE KICKS:MEDIA, YOUTH AND SUBCULTURE 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 â highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth â but will also examine young peopleâs 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. THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY. | FTMF6017A | 20 |
| WOMEN, ISLAM AND MEDIA 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 Occidentalismâs 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 womenâs film festivals. | FTMF6021A | 30 |
| WOMEN, ISLAM AND MEDIA 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 Occidentalismâs 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 womenâs film festivals. THIS IS A 20 CREDIT VERSION OF THE MODULE - ONLY AVAILABLE FOR VISITING STUDENTS | FTMF6022A | 20 |
Option C Study (30 credits)
Students will select 30 credits from the following modules:
| Name | Code | Credits |
|---|
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 including at least one humanities subject
- International Baccalaureate:
- 33 points including at least one Higher Level humanities subject
- Scottish Highers:
- At least one Advanced Higher preferred
- Scottish Advanced Highers:
- AAB including at least one humanities subject
- Irish Leaving Certificate:
- AAAABB including 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% including at least one humanities subject
Entry Requirement
2014
Typical A-level offer: ABB
Typical International Baccalaureate offer: 32
All equivalent qualifications considered, please contact the university for further information
Students should also have 5 GCSEs including English (grade C) and Mathematics (grade C).
Students for whom English is a Foreign language
BWe 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
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 Art History and World Art 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 (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.