Undergraduate Degrees

BA French and Film and Television ( RP9H )

UCAS Course Code:: RP9H
Attendance:: Full Time
School of Study:: Language and Communication Studies
Brochure:: School of Language and Communication Studies Undergraduate Brochure (PDF)
Typical A-Level Offer:: ABB

Overview
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Course Profile
Year Abroad
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BA in French and Film and Television This course combines an equal combination of advanced language learning with the study of film and television and, importantly, integrates the two elements of the degree. You study French language to degree level and choose from a range of specialist modules in film and television, and modules on language and translation issues. In the School of Film and Television Studies, you will be trained to ask questions about the history, political significance and formal qualities of sound and image. Whether preserving moving images, engaging in the creative activity of making them, or learning more about their role in shaping or reproducing social values, the development and character of these important audio-visual cultures will be explored in a stimulating environment. The degree includes a year abroad in a French-speaking country, either studying at university or working as a language assistant, or on another approved work placement.

Graduates from this degree will be highly employable and able to enter an extremely wide range of professions using their well-developed language and communication skills, intercultural sensitivity, and media knowledge.

Year 1

The Film and Television modules in year 1 (Analysing Film and Television, Studies in Film History, and Interrogating Culture) provide students with an introduction to critical concepts and historical issues central to the study of film and television, as well as a range of relevant theoretical and methodological approaches. In the School of Language and Communication Studies, alongside level 1 post-A level language competence modules, you take a module entitled Study, Research and Communication Skills which provides you with a practical and critical basis for all language and language-related study throughout the degree.

Year 2

In year two, students build up their linguistic and cultural proficiency alongside the specific study of audiovisual material in a French-speaking context in France Through the Eye of the Lens. This module takes a thematic approach to French society from a socio-cultural perspective through the study of films, soap operas, documentaries, TV commercials, music videos, etc. In addition, students consolidate and extend their knowledge through more detailed work in optional modules. In film and television studies, the options include: Television Genre, Hollywood and the World, Film Noir, The Hollywood Musical, The Practice of Screenwriting: Issues in Adaptation, World Cinema, Celebrity, and Film and Authorship. The options complementing the language work include: Subtitling and Dubbing, Translation and Adaptation, Translation Issues in the Media.

The Year Abroad

Your third year is spent in a country where your honours language is spoken. Please see the Study Abroad tab for further information.

Final Year

The final year language work modules make up half the year’s credit and consolidate and build on improved competence acquired on the year abroad. Students will write a dissertation in the foreign language on a film-related topic. The Film and Television options aim to promote more advanced understanding of film and television by asking students to undertake more in-depth work in modules such as: Science Fiction Cinema, Popular Animation, Crime and Investigation in Contemporary US Television, Comedy, Gender and Genre in Contemporary Cinema, Contemporary Japanese Visual Media, Women and British Cinema, Selling Spectacle and Film and Cultural Politics.

Honours Language Work

In each year, you have on average 4 contact-hours per week in your Honours language. The Honours language teaching is closely related to the study of contemporary society in the country (or countries) where your Honours language is spoken and your experience of learning language at UEA will include a combination of lectures, seminars and conversation classes. It will cover grammar, translation from and into French, reading and listening comprehension, précis and paraphrase work, the study of different styles and registers, lexical exercises and oral work. You will also spend a significant proportion of time working independently using subject-oriented teaching dossiers, radio, TV, films, transcripts, newspapers and online resources while keeping abreast of current affairs and cultural life at home and abroad. Our Language Centre has a digital language laboratory, a viewing and editing room, an interpreting suite for advanced language training, live satellite television broadcasts in French, a large, multi-media self-access resources room with a wide range of French DVDs and reference books, up-to-date computers linked to the internet, and translation software. You will acquire specific expertise in the traditional language skills of reading, writing, speaking and listening, as well as transferable skills such as time management, self-discipline and self-motivation, intercultural awareness, flexibility and resourcefulness, mediation skills, IT literacy and teamwork.

Events

French and Spanish Film series: LCS runs a foreign film series for its home and visiting students and local A1 and A2 students. The screenings are of subtitled French and Spanish films. This helps increase exposure to foreign language and culture for the groups of students listed above while strengthening links with local schools. It also provides a regular event around which to focus informal tandem learning relationships between LCS language students and UEA’s community of French- and Spanish-speaking visiting students. The latter also collaborate with our students to organize quiz nights, cabaret events and so on.

The School of Language and Communication Studies is a small, lively School where we offer flexible undergraduate degree programmes with an emphasis on language competence and on issues relating to contemporary language and translation. Our graduates are highly employable and enter an extremely wide range of professions using their well-developed language and communication skills, and intercultural sensitivity.

Our MA graduates are equally successful professionally. Courses at this level enable flexible planning in the combination of core and optional modules and in the range of possible dissertation topics, while the Faculty of Arts and Humanities provides a rich interdisciplinary environment designed to encourage dialogue and the cross-fertilisation of ideas.

New for 2012-13

We’re always working to build on our strengths here in LCS, improving your student experience – and your prospects. Here are some new Key Features for 2012-13 that you won’t yet find in our brochure:

Smaller groups in language classes – as few as 10 – mean even better quality learning.
New high-spec professional interpreter training facilities – helping to keep you ahead of the game.
Employability boost – extra timetabled sessions to develop your skills and employability profile for a range of professions using language skills right from the start of your degree course.

Find out what our undergraduate students say or check out our Facebook page for 2013 applicants where you can ask our current students questions about studying and living here:

www.facebook.com/groups/UEALCSapps2013

Students taking Post-GCSE language will take LCS-1F9Y plus LCS-1E05; Students taking Post A-Level language will take LCSU1F21 and LCSU1F22 plus LCS-1E05

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.
FRENCH POST GCSE I	LCS-1F9Y	40
This is a module for students taking their French Honours language degree from a post-GCSE starting point. The need for significant progress in reading, writing, listening and speaking is met with intensive teaching that this module provides. The aim is to equip students with the linguistic understanding of a number of real-life situations, as well as the ability to communicate effectively in those situations. Particular emphasis is also placed on acquiring a sound knowledge of grammar. It is only available to students taking a degree in French from post-GCSE level.
INTERROGATING CULTURE	FTMF1F12	20
This module provides an introduction to the key debates over media and cultural theory. In the process, it focuses on the key movements and theorists and covers key debates over the concept of mass culture and the mass media, structuralism and poststructuralism, high/low culture, the culture industries, and hegemony. The module will be taught by lecture and seminar.
INTRODUCTION TO LANGUAGE AND COMMUNICATION STUDIES	LCS-1E05	20
This module provides an environment for LCS students to develop the core academic skills, attributes and knowledge necessary to make the most of their study at university. Key themes in the study of language, culture and intercultural communication will be visited, allowing exploration of learning, study and academic writing strategies and skills with the aim of developing effective, self-supporting learning and communication. Presentation will be via a variety of lectures, workshops and seminars. AVAILABLE ONLY TO LCS FIRST YEAR STUDENTS.
POST A-LEVEL FRENCH LANGUAGE 1/I	LCSU1F21	20
A Post A-Level module designed to develop overall competence, with emphasis on grammatical accuracy and on the promotion of autonomous learning and transferable skills. Consisting of a lecture, one hour oral, and two hours of 'travaux diriges' in small groups for which extra slots are available. Not available to French native speakers or those with equivalent competence.
POST A-LEVEL FRENCH LANGUAGE 1/II	LCSU1F22	20
A continuation of module LCSU1F21.
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.

Students taking Post GCSE language will take LCS-2F7Y. Students taking Post A-Level will take LCSU2F01 and LCSU2F02.

Compulsory Study (40 credits)

Students must study the following modules for 40 credits:

Name	Code	Credits
FRENCH POST-GCSE II	LCS-2F7Y	40
This year-long module is for Year 2 post-GCSE entry students and is the continuation of French post-GCSE I. It is designed to build up linguistic proficiency, cultural knowledge and learning skills in preparation for the year abroad.
POST A-LEVEL FRENCH LANGUAGE 2/I	LCSU2F01	20
This French Honours language module is compulsory for all second-year Single Honours French students. It is designed to build up linguistic proficiency, cultural knowledge and learning skills in preparation for the Year Abroad. Activities focus on promoting self-direction in language learning, and draw on a variety of resources, including electronic resources, for in-class, self-access and group project work (oral, aural, written). Seminars are taught in French. (Alternative groups will be available for seminars.)
POST A-LEVEL FRENCH LANGUAGE 2/II	LCSU2F02	20
This module is the continuation of the Post A-Level French Language 2/I module (LCSU2F01) and is compulsory for all second year French Honours students. There is a core element to this module which takes up the objectives of LCSU2F01 in a translation hour (D2 or E3) and a year abroad preparation oral class. There are three additional strands. Each student will take one of these strands: i) Introduction to Interpreting (obligatory for Q9R8 students) (A3B4), ii) French Law and Society (C3D4) or, iii) French for Business (obligatory for R9N2 students) (A7*A8). Non-Q9R8 and non-R9N2 students will be asked to state a preference in the Autumn semester.

Option A Study (60 credits)

Students will select 60 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.
BRITISH FILM & TELEVISION (SUMMER SCHOOL)	FTMF2001S	20
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 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
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 Andr�� Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela B��l��zs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.
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
FRANCE THROUGH THE EYE OF A LENS	LCS-2F42	20
This module examines French society from a socio-cultural perspective through film and television. It will enable you to further your knowledge of French culture and society while exposing you to a wide range of audiovisual French language cultural products. The approach will be thematic with a focus on identity and cover issues relating to immigration, education, class, sport, and sexuality, for example. Each theme will be supported by relevant written texts.
SUBTITLING AND DUBBING (LEVEL 2)	LCS-2T11	20
This module is an introduction to aspects of subtitling and dubbing in different media and multimedia contexts (television, radio, cinema, world wide web), and to issues associated with these activities in the age of globalisation. A range of materials and processes will be considered (e.g. film subtitling, subtitling for the deaf and hard-of-hearing, subtitling and dubbing in news reports or documentaries, subtitling and dubbing in the context of multimedia localisation) to investigate key features and concerns involved in transposing text across communication channels, media, forms and codes. Assessment commensurate with level. Taught with LCS-3T11 and LCS-3T17.
TECHNOLOGICAL TOOLS FOR SUBTITLING AND DUBBING (LEVEL 2)	LCS-2T24	20
This module provides first-hand experience of subtitling and dubbing. There will be an opportunity to become familiar with software used for interlingual and intralingual subtitling and dubbing at professional level while undertaking practical exercises involving cueing, text compression and segmentation, respecting time and space constraints and conforming to conventions of good practice. The different types of technological tools used for audiovisual translation at professional and amateur levels will be explored, analysed and assessed. Selected film/TV series/documentary extracts in several languages will be used. Practical activities will present participants with the challenges posed by the interplay of audio, image and text.
TECHNOLOGICAL TOOLS FOR TRANSLATING AND REAL WORLD TRANSLATION (LEVEL 2)	LCS-2T22	20
This module will provide an introduction to the technological tools used by professional translators and real world translators
THE CONSTRUCTION OF NEWS (LEVEL 2)	LCS-2L30	20
The module seeks to provide an understanding of how the special cultural product we call 'news' is created. It examines the changing economic, political, legal and cultural contexts of newspaper production in a variety of media (print, web, broadcast). It presents and assesses different theories about how these contexts (or 'structures') impact on the day to day practice of journalism and the nature of the news message. An important part of the module involves tracing the reflections and refractions of these wider processes in actual news media discourse. We will use frequent practical analysis exercises to test and challenge the theories of new production and the practices of new production in today's fast-changing news environment. The module encourages students to develop, practice and test a range of skills, including: being able to consider, analyse and challenge critically the ideas and practices of themselves and others; taking part in teamwork; presenting ideas and analytical outcomes. By the end of the module, you should be able to 'read' news media in a very different way to before.
TRANSLATION AND ADAPTATION (LEVEL 2)	LCS-2T20	20
This module will consider translation and adaptation (understood as the transferral of a cultural product from one medium to another) in a range of media (for example, film, television, theatre, literature, and computer games) and the issues associated with these processes in these media. The module is taught in English and source texts which are not English (but which have translations available) will be used, i.e. inter and intra-lingual work will be examined. There will be the opportunity for you to undertake creative work which will form part of the assessment for the module along with a theoretical discussion of the translation/adaptation. The module is open to students who do not have a foreign language. Assessment commensurate with level. Taught with LCS-3T20 and LCS-3T22.
TRANSLATION ISSUES IN THE MEDIA (LEVEL 2)	LCS-2T06	20
This module is particularly relevant to language and translation students, but will appeal to students from across the University with an interest in language issues associated with the globalisation of communication and the media. It considers a range of materials (texts and their translations, multilingual publications and packaging, film subtitles, dubbed soundtracks, IT-mediated text) to explore issues involved in the transposition and translation of (spoken and written) text into other media and other languages across different genres, literary and non-literary. Taught in English. Receptive knowledge of one other main European language required. (Taught with LCS-3T06 and LCS-3T26). Assessment commensurate with level.

Compulsory Study (120 credits)

Students must study the following modules for 120 credits:

Name	Code	Credits
YEAR ABROAD	LCS-2X0Y	120
A compulsory year abroad for students taking one or more honours language(s). Satisfactory completion of the year abroad, as defined by the School Board, is necessary for registration in the following year.

Compulsory Study (40 credits)

Students must study the following modules for 40 credits:

Name	Code	Credits
FRENCH ORAL AND WRITTEN COMPOSITION	LCS-3F13	20
This module is open to second-year LCS students with (near) native competence in French, and/or visiting/exchange students only. It is an academic module designed to systematise and expand linguistic capacities through critical use of existing competence. Main activities: textual analysis, written composition, formal oral presentations. Taught in French and with LCS-3F11. Assessment commensurate with credit value.
TRANSLATION (ENGLISH TO FRENCH)	LCS-3F14	20
This module aims to enhance translation skills and involves English into French translation. It is also open to second-year LCS students with (near) native competence in French and/or visiting/exchange students. Taught with LCS-3F12. Assessment commensurate with credit value.

Option A Study (60 credits)

Students will select 60 credits from the following modules:

Name	Code	Credits
ASIAN CINEMA	FTMF3F68	30
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.
ASIAN CINEMA	FTMF3F70	20
'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.
CELEBRITY	FTMF3F64	30
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.
CELEBRITY	FTMF3F66	20
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.
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.
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F59	20
This module is a 20-credit version of FTVF3F57: CREATIVE WORK IN THE MEDIA INDUSTRIES and is available only to Visiting Students.
CRIME TELEVISION	FTMF3F92	30
This module explores crime and investigation in recent US television, encompassing formal developments such as the use of group formats, specialist teams and genre hybrids. It considers theoretical/critical issues that may include the value and limits of approaching television via genre, representations of urban US life, the (lack of) engagement with questions of race, gender and the female investigator, gender and sex crimes, the statement and transgression of social/cultural taboos to do with sex, violence and identity and the increasing significance - post 9/11 - of paranoid narration, the investigation of terrorism as crime and the policing of US civil society. This module is taught by seminar and screening.
CRIME TELEVISION	FTMF3F94	20
This unit is a 20-credit version of FTVF3F92 CRIME TELEVISION and is available only to Visiting Students.
FILM AND TELEVISION STUDIES YEAR ABROAD DISSERTATION	FTMF3F31	30
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.
FILM, TELEVISION AND MEDIA STUDIES: DISSERTATION (AUT)	FTMF3F75	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F76 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
FILM, TELEVISION STUDIES AND MEDIA DISSERTATION (SPRING)	FTMF3F76	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, TW76401, U1W610301, U1WV63301 AND U1P300302. This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television Studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F75 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
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.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F18	20
This module is a 20-credit version of FTVF3F10: GENDER AND GENRE IN CONTEMPORARY CINEMA and is available only to Visiting Students.
PRACTICE-BASED DISSERTATION (AUT)	FTMF3P83	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.
PRACTICE-BASED DISSERTATION (SPR)	FTMF3P84	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.
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.
SCIENCE FICTION CINEMA	FTMF3F07	30
Science Fiction is currently a key genre in popular cinema, providing a significant focus for addressing social, cultural and political issues. This module follows the historical development of the genre and looks at changes in the way both mainstream and alternative films have addressed such issues. Films we look at range from silent classics such as 'Le Voyage dans la Lune' and 'Metropolis' to the more recent 'Independence Day', 'The Fifth Element', and 'The Matrix'. Other screenings might include 'Things to Come', 'The Day the Earth Stood Still', 'Demon Seed', 'Alien', 'The Brother from Another Planet', 'Robocop' and 'Akira'. Separate screenings.
SCIENCE FICTION CINEMA	FTMF3F13	20
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.
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.
SELLING SPECTACLE	FTMF3F47	20
This module is a 20-credit version of FTVF3F45: SELLING SPECTACLE and is available only to Visiting Students.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F52	30
Stanley Kubrick is regarded as one of the most important filmmakers of the 20th century, with '2001: A Space Odyssey' (1968) and 'Dr Strangelove' (1964) being listed in critics' polls as two of the best films ever made. Kubrick also was one of the most commercially successful directors of the 1960s and 1970s. This module concentrates on the 11 full-length films he made from 1956 to 1999, but also considers his early career as a photo-journalist and maker of documentary shorts and short features. The module examines the production, themes, style and reception of Kubrick's films, and situates them in the context of broader developments in American cinema, culture and politics.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F54	20
This module is a 20-credit version of FTVF3F52 STANLEY KUBRICK: FILMS IN CONTEXT and is available only to Visiting Students.
TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE	FTMF3F61	30
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation
TEENAGE KICKS:MEDIA, YOUTH AND SUBCULTURE	FTMF3F69	20
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation. THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY.
WOMEN, ISLAM AND MEDIA	FTMF3F83	30
BEFORE TAKING THIS MODULE YOU MUST TAKE EITHER FTVF1F09 OR TAKE PSI-1A05 OR TAKE PSI-1A06 This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism��s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women��s film festivals.
WOMEN, ISLAM AND MEDIA	FTMF3F85	20
This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism’s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women’s film festivals. THIS IS A 20 CREDIT VERSION OF THE MODULE - ONLY AVAILABLE FOR VISITING STUDENTS

Option B Study (20 credits)

Students will select 20 credits from the following modules:

Name	Code	Credits
DISSERTATION IN LANGUAGE AND CULTURE (AUTUMN)	LCS-3C05	20
This module gives students the opportunity to undertake research on a project of their own choosing under the supervision of a member of faculty. The goal is to produce an extended essay (written in English) of 5,000 - 6,000 words which relates in-depth research on a specialist topic relating to wider issues in language and communication studies. The dissertation topic must be agreed by the module organiser by the end of the previous semester. There is no specific timetable slot for the module, arrangements for tutorial meetings being made between the individual tutor and student. This module will be useful preparation for those interested in pursuing post-graduate studies.
DISSERTATION IN LANGUAGE AND CULTURE (SPRING)	LCS-3C06	20
This module gives students the opportunity to undertake research on a project of their own choosing under the supervision of a member of faculty. The goal is to produce an extended essay (written in English) of 5,000 - 6,000 words which relates in-depth research on a specialist topic relating to wider issues in language and communication studies. The dissertation topic must be agreed by the module organiser by the end of the previous semester. There is no specific timetable slot for the module, arrangements for tutorial meetings being made between the individual tutor and student. This module will be useful preparation for those interested in pursuing post-graduate studies.
SUBTITLING AND DUBBING (LEVEL 3)	LCS-3T17	20
This module is an introduction to aspects of subtitling and dubbing in different media and multimedia contexts (television, radio, cinema, world wide web), and to issues associated with these activities in the age of globalisation. A range of materials and processes will be considered (e.g. film subtitling, subtitling for the deaf and hard-of-hearing, subtitling and dubbing in news reports or documentaries, subtitling and dubbing in the context of multimedia localisation) to investigate key features and concerns involved in transposing text across communication channels, media, forms and codes. Assessment commensurate with level. Taught with LCS-2T11 and LCS-3T11.
TECHNOLOGICAL TOOLS FOR SUBTITLING AND DUBBING (LEVEL 3)	LCS-3T56	20
This module provides first-hand experience of subtitling and dubbing. There will be an opportunity to become familiar with software used for interlingual and intralingual subtitling and dubbing at professional level while undertaking practical exercises involving cueing, text compression and segmentation, respecting time and space constraints and conforming to conventions of good practice. The different types of technological tools used for audiovisual translation at professional and amateur levels will be explored, analysed and assessed. Selected film/TV series/documentary extracts in several languages will be used. Practical activities will present participants with the challenges posed by the interplay of audio, image and text.
TECHNOLOGICAL TOOLS FOR TRANSLATING AND REAL-WORLD TRANSLATION (LEVEL 3)	LCS-3T54	20
This module will provide an introduction to the technological tools used by professional translators and real-world translators.
THE CONSTRUCTION OF NEWS (LEVEL 3)	LCS-3L50	20
The module seeks to provide an understanding of how the special cultural product we call 'news' is created. It examines the changing economic, political, legal and cultural contexts of newspaper production in a variety of media (print, web, broadcast). It presents and assesses different theories about how these contexts (or 'structures') impact on the day to day practice of journalism and the nature of the news message. An important part of the module involves tracing the reflections and refractions of these wider processes in actual news media discourse. We will use frequent practical analysis exercises to test and challenge the theories of new production and the practices of new production in today's fast-changing news environment. The module encourages students to develop, practice and test a range of skills, including: being able to consider, analyse and challenge critically the ideas and practices of themselves and others; taking part in teamwork; presenting ideas and analytical outcomes. By the end of the module, you should be able to 'read' news media in a very different way to before. Assessment commensurate with level. In addition to the timetabled seminar, some further contact hours will be arranged for level 3 students.
TRANSLATION ISSUES IN THE MEDIA (LEVEL 3)	LCS-3T26	20
This module is particularly relevant to language and translation students, but will appeal to students from across the University with an interest in language issues associated with the globalisation of communication and the media. It considers a range of materials (texts and their translations, multilingual publications and packaging, film subtitles, dubbed soundtracks, IT-mediated text) to explore issues involved in the transposition and translation of (spoken and written) text into other media and other languages across different genres, literary and non-literary. Taught in English. Receptive knowledge of one other main European language required. Taught with LCS-2T06 and LCS-3T06. Assessment commensurate with level.
TRANSLATION THEORY AND PRACTICE	LCS-3T07	20
This module is open to second-year LCS students with (near) native competence in French or Spanish and/or visiting/exchange students. The primary aim of this module is to develop the skills and critical thinking required for the production, by the individual student, of an extended annotated translation and commentary. The commentary consists of a theoretical discussion of the translation process and product, together with specific annotations illustrating the translation strategy adopted. Taught with LCS-3T05. Assessment commensurate with credit value.

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.

Year Abroad

You spend a year abroad in your third year on all our four-year language degrees or alternatively a semester abroad in the second year on our three-year fast-track degrees. The year/semester abroad is a fantastic chance for a student to explore one or more countries where your Honours language(s) are spoken and the opportunities they offer, while at the same time having the support of the School’s staff.

You either take up a teaching assistantship, a work placement, voluntary work or attend a foreign university, usually on an Erasmus/Socrates exchange in France or Spain. Students on the Erasmus scheme receive a small grant from the EU which funds the scheme, and students teaching or working also receive the Erasmus grant in addition to their salary. Students going to Japan will attend university.

If you are taking two languages from A level, you will normally split the year between two countries where those languages are spoken.

The main option available to you is attending a university, normally as part of an exchange programme, one semester in each country. Students of French can, for instance, attend the prestigious Ecole de Traduction et d'Interprétation in Geneva. We have Erasmus exchange schemes and well-established links with a range of universities in France and Spain: (France) Clermont Ferrand, Corsica, Montpellier III, Nancy II, Nice, Paris, and Tours; (Spain) Alicante, Alcalá de Henares, Castilla La Mancha, Madrid (Antonio de Nebrija, Autónoma and Complutense), Granada, Salamanca, Toledo and Zaragoza, as well as the Universidad de Guadalajara and the Universidad de las Américas in Mexico. We are currently establishing our year abroad university partners for the first cohort of students who will go to Japan in 2013-14.

If you are taking two languages from A level it is also possible to take up a work placement in France or Spain in combination with a university place if a short enough work placement can be found. The final option of working as a language assistant is not open to you because you will need to split your year abroad and contracts for assistants are for more than six months.

If you are taking one of French, Spanish or Japanese from below A level, you will normally spend your year in a country where the weaker language is spoken and the summer in a country where your stronger language is spoken. If you are taking French, Spanish or Japanese from below A level in combination with another Honours language, you will spend the year abroad in the country of the weaker language and, for France and Spain, follow courses in the stronger language. It is recommended that such students spend the summer before the final year in the country of their stronger language.

If you are a highly proficient native or near-native speaker of French or Spanish, then you are normally exempted from the compulsory year abroad for that language and spend your first year studying a completely different language from our wide range of subsidiary languages. In your following two years your compulsory language strand consists of final year level modules in your native language. If you are studying two languages to Honours level and one of these is your native language, then you will spend a year abroad in a country where your non-native language is spoken.

Entry Requirements

A Level:: ABB
International Baccalaureate:: 32
Scottish Advanced Highers:: ABB
Irish Leaving Certificate:: AABBBB
Access Course:: Please contact the University for further information.
HND:: Please contact the University for further information.
European Baccalaureate:: 75%

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 all components)
TOEFL: Internet-based score of 88 overall (minimum 18 in the Listening and Writing components; 19 in the Reading component; and 21 in the Speaking component)
PTE: 62 overall with minimum 55 in all components

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 School does not currently interview all applicants for undergraduate entry as standard, however we do offer the opportunity to meet with an academic individually on a Visit Day in order to gain a deeper insight into the course(s) you have applied for.

Gap Year

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

Deferred Entry

We 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.

Special Entry Requirements

It is generally expected that you should have at least a Grade B at A Level, or its equivalent, in the language or languages that you intend to take at honours level.

In the case of Spanish or Japanese studied from Beginners' or Spanish, French or Japanese from post-GCSE level, we require evidence of foreign language learning ability, such as a good grade in a foreign language at GCSE.

If two honours languages are studied, only one can be taken from below A Level.

Intakes

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

Alternative Qualifications

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

GCSE Offer

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

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 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 Language and Communication Studies 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 (Language and Communication Studies)
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.