Undergraduate Degrees

BA Media Studies ( P300 )

UCAS Course Code:: P300
Duration:: 3 years
Attendance:: Full Time
Award:: Degree of Bachelor of Arts
School of Study:: Film, Television and Media Studies
Brochure:: Film and Television Studies Undergraduate Brochure (PDF)
Typical A-Level Offer:: AAB-ABB

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Course Profile
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The 2012 Complete University Guide has ranked us second in the UK for Communications and Media Studies. The scoring is based on student satisfaction, entry standards, research and graduate prospects, which demonstrates that not only do our degree courses reflect the interests of the students, but the needs of employers too. Media Studies is an interdisciplinary degree programme which brings together theoretical and practical approaches to the study of contemporary media. Read More...

Year 1

During your first year the core elements of the programme introduce you to the media industries, the relationships between media and society, and a range of tools and approaches you can use to explore the media. A range of media are explored, including television, cinema, new media, and popular music. A core module examines what it is like to work in the media, making links between your studies and the media industries.

Year 2

There are a range of practical modules available to you, such as screenwriting, video production and television studio production. A compulsory module outlines a range of theoretical and practical research methods, to prepare you for your dissertation and other independent research work in the third year. We also offer a competitive Media Industries Internship module where you can work with a local industry partner. Many other options are also available, covering a range of media, including popular music, and looking at media texts in their national and historical contexts. You can also take modules from other Schools, such as Literature, Philosophy and Creative Writing.

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

Year 3

In your final year you will take fewer modules but study their contents in more depth. A dissertation is compulsory, and this can incorporate both theoretical and practical work. Professional Video Production and Creative Work in the Media Industries allow further production work and learning about industrial contexts of production where you can gain useful experience. Other modules explore topics such as television genres, gender and world cinema. While there are fixed points within the programme, there is also lots of opportunity for you to structure the degree to your needs and interests. The School encourages interdisciplinary work, and this allows you to create the programme best suited to you. The programme as a whole draws on modules from many schools: Film, Television and Media Studies; Political, Social and International Studies; Economics; Literature and Creative Writing; Philosophy and Law. This course has been designed to allow you to choose 50% or more of your modules in creative and production options.

Teaching and Assessment

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

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

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

Course Organiser:Dr. Rayna Denison

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

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

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

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

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

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

Why Study in the School

What Our Students Say

Compulsory Study (120 credits)

Students must study the following modules for 120 credits:

Name	Code	Credits
ANALYSING FILM AND TELEVISION	FTMF1F09	20
The module is designed to provide students with core study skills and techniques and methods of textual analysis. The module will cover the analysis of a range of formal features and frameworks such as narrative, mise-en-scene, camera work, editing and sound used in the analysis of film and television. The study skills covered will include use of the library and internet for research, as well as note taking, essay planning and the conventions of academic writing. In the process the module will cover issues such as referencing and plagiarism. It will be taught by lecture, seminar and screening.
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.
MEDIA INDUSTRIES	FTMF1F17	20
This module is designed to provide students with an understanding of the structure of the media industries and of the situation of media practitioners within them. It will therefore look at their economic and political organisation and regulation and the divisions of labour determined by these modes of organisation and regulation. In the process, it will cover a range of different media industries in Britain and the US, including the press, radio, film and television
MEDIA REGULATION	FTMF1F14	20
This module provides an introduction to the key debates over the regulation of media. In addition to systems of censorship, the module will explore the economic systems through which media are organised and controlled, the legal systems through which they are managed and organised and the political processes through which they are mobilised. Rather than simply seeing such processes as repressive, the module will also seek to explore the ways in which they productively shape content. The module will be taught by lecture and seminar.
MEDIA, SOCIETY AND POWER	PSI-1A09	20
This module introduces first year students to the main theories of mass communications and provides them with the key skills of academic reading and writing. Students will reflect on the importance of reading for academic research and learn how to assess and discuss the relevance and impact of milestones in mass communications theory from the nineteenth century to the present. The module explores theoretical approaches to media content, production, regulation and reception, including key themes such as freedom of speech, public sphere and political economy.
UNDERSTANDING MEDIA CULTURES	PSI-1A08	20
This module introduces first year students to the main theories of cultural studies and explores how they have been applied in empirical research. Students will discuss the relevance and impact of key thinkers, such as S Hall, R. Williams and P. Bourdieu and will learn how to apply the key principles of methodological tools, such as ethnography, semiotics and quantitative content analysis. The aim is to engage students with original, seminal texts which will allow them to understand the social and political importance of culture within society and to encourage them to engage actively in the academic research environment.

Compulsory Study (20 credits)

Students must study the following modules for 20 credits:

Name	Code	Credits
RESEARCH TRAINING	FTMF2F34	20
The module is designed to provide students with the key concepts and methods necessary to devise and execute an independent research project whether using traditional academic methods or practice based research. As a result, it will cover the key processes involved in devising and focusing a research project, reflexively undertaking the research itself and writing up one's results. In the process, students will be shown how to position their work in relation to an intellectual context; devise the research questions that are practical and realistic; and developing research methods through which to address these questions. The module will be taught by lecture and seminar.

Option A Study (20 credits)

Students will select 20 credits from the following modules:

Name	Code	Credits
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.
TELEVISION STUDIO PRODUCTION	FTMF2P33	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
TELEVISION STUDIO PRODUCTION	FTMF2P32	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
THE 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 (40 credits)

Students will select 40 credits from the following modules:

Name	Code	Credits
ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN	LDCD2X45	20
Case studies of selected plays and productions are used as a basis for examining the processes of adaptation and interpretation of Shakespeare's plays. Exclusive to students on Literature and Creative Writing programmes and all joint programmes with Literature.
ADOLESCENCE IN AMERICAN CULTURE POST-1950	AMSA2S53	20
This module will suggest that there is a preoccupation with adolescence in postwar and contemporary American culture, and will explore why this is the case. It will do so by introducing students to representations of adolescence in various disciplines, focusing particularly on literature, film, psychoanalysis and cultural studies. Questions to be explored will include: What is 'American' about adolescence? How do representations of adolescence vary according to factors such as gender, race and region? Is there a particular discipline or artistic form which is especially suited to depictions of adolescence?
AMERICAN MUSIC	AMSA2S45	20
The first book published in the New World was a hymn book. Music, sacred and profane, has been at the centre of American lives ever since. Accordingly, this module will explore the history of American music - but it will also examine the way that its development tells a larger story. Focusing largely on the vernacular musical traditions we will encounter a wide range of musical styles and musicians, each of which has something vital to tell us about the shaping of America. After all, as Plato knew, "When the mode of the music changes, the walls of the city shake."
AN INTRODUCTION TO LATIN AMERICAN FILM	LCS-2H57	20
Recent Latin American films like the Mexican 'Love's A Bitch' and the Brazilian 'City of God' have received critical acclaim at home and abroad and have been great commercial successes. This module takes these films as its starting point and moves on to offer a survey of Latin American cinema up to the present day, including golden age, 'pulp' cinema and horror genres, political cinema, recent co-productions, the cinema of 'smaller' countries, and grassroots video work.
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.
CONTEMPORARY GALLERY AND MUSEUM STUDIES	ART-2Z13	20
The issues facing galleries and museums in contemporary times are many: issues to do with the status of collections, their display, questions of finance and audiences, acquisitions and in certain circumstances disposal and repatriation in the case of objects from overseas. This module examines these questions in detail, focusing on a number of case studies to provide a detailed understanding.
DOING IT YOURSELF: PUNK AND AMERICA	AMSA2S05	20
Although the exact provenance of ‘punk’ remains a contested issue, since its emergence in the mid-1970s this transnational musical and cultural phenomenon has become very much a part of the American grain. Indeed, punk’s capacity to adopt, appropriate, assimilate, and re-invent a vast and eclectic range of cultural styles, forms, and ideas, as well as its ‘do-it-yourself,’ places it in a longstanding American intellectual tradition of self-reliance and innovation. In this interdisciplinary module, we will attempt to define punk, and consider what it means to be punk, by examining its influence in music, film, poetry, and fiction. The unit will also explore the socio-political implications of punk in terms of gender, sexuality, and community, and question the possibility of punk in an increasingly globalised and commoditised world.
EIGHTEENTH-CENTURY WRITING	LDCE2Y11	20
This lecture-seminar module provides an intensive introduction to British writing from the Glorious Revolution (1688) to 1780 considering such writers as Defoe, Swift, Pope, Richardson, Fielding and Sterne, and exploring the "rise of the novel", the development of literary periodicals and newspapers, and the relationship of neo-classical poetry to the development of the English landscape garden. The course considers literary writing in relation to the development of mercantilism and such new capitalist institutions as the stock market, the idea of the individual as entering a social contract with others to form society, and the changing status of women and the family.
FILM AND AUTHORSHIP	FTMF2F36	20
This module will introduce students to the theory and analysis of authorship within film. In the process, it will introduce students to the key theoretical debates over film authorship before moving on to examine a range of case studies. The module is taught by seminar and is supported by a separate programme of screenings.
FILM GENRES	FTMF2F71	20
Film Genres introduces students to the range of theories and methods used to account for the prevalence of genres within filmmaking. The module investigates historical changes in how film genres have been approached in order to consider how genres have been made use of by industry, critics and film audiences. Genre theories are explored through a range of case studies drawn from one or more of a range of popular American film genres that may include the Western, melodrama, romantic comedy, the road movie, the buddy movie, film noir, the gangster film, the war film and action/adventure film. In exploring concepts and case studies relating to film genres the module aims to demonstrate the impact of genres within contemporary culture.
FILMS THAT MADE US AMERICAN: THE 1980S THROUGH THE MOVIES	AMSA2S03	20
The module will examine America in the1980s. It will look at youth culture, post-Vietnam revisionism and the ‘remasculinization of America’, yuppie culture, and the impact of both AIDS and drug addiction. Core factors of study in this module are the effects of both New Right morality upon the American socio-cultural landscape, and Ronald Reagan as postmodern president administrating to a ‘celluloid America’ of his own fantastic imagining. Overall, the module will offer the chance to analyse the tensions and contradictions of the decade as they were played out in both the content and structure of contemporary American film.
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.
GOODBYE TO BERLIN? LITERATURE & VISUAL CULTURE IN WEIMAR GERMANY	LDCE2Z40	20
This module aims to explore some of the exciting developments in verbal and visual culture of the Weimar Republic between the First and Second World Wars, e.g. experimental theatre, Weimar cinema, cabaret, visual arts, the Bauhaus, etc. Texts considered will include writings by Brecht et al. Thomas and Heinrich Mann, and less familiar authors as well as key films by e.g. Pabst (Threepenny Opera), Lang (Metropolis), von Sternberg (Blue Angel) and others. A particular focus is likely to be representations of gender on page, stage and screen. Active seminar participation is expected. NB: A knowledge of German, while useful, is not a prerequisite; translations are available.
INDIGENOUS ARTS AND INDIGENOUS PEOPLES	ART-2Z28	20
This module begins by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The module continues by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making. The module aims to foster an inter-disciplinary approach.
INTRODUCTION TO 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.
LOOKING AT PICTURES: PHOTOGRAPHY AND VISUAL CULTURE IN THE USA	AMSA2S48	20
Photographic portraits, family albums, anthropological illustrations, lynching postcards, advertisements, food packaging and fashion photos are just some of the pictures that will be "read" and analysed in this module. Students will explore how visual texts can contribute to an understanding of nationhood, class, race, sexuality and identity in the USA. Opening sessions will focus on ways of "reading" visual texts. [No previous experience of working with images is necessary]. Most of the semester will be devoted to analysing how photographic images both reflect and contribute to constructions of American culture.
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.
METHODS OF SOCIAL RESEARCH	PSI-2A13	20
Students learn how to do research by engaging in a research project. A variety of research skills can be acquired - interviewing, observation, taking fieldwork notes, computerised data analysis, report writing etc.
MUSIC AND RECORDING CULTURE	MUS-2H63	20
A module investigating musical practice since the introduction and widespread dissemination of recording. Beginning with historical context, the module will broaden to encompass new approaches to musical study in which the recording forms the primary focus.
NEW MEDIA AND SOCIETY	PSI-2A27	20
For better or worse, new digital technologies are hyped at having revolutionised society. This module will provide students with an introduction to the ways in which the internet and other digital technologies are (and are not) affecting society from theoretical and empirical perspectives, and how society shapes technology. Topics covered include: the evolution of the internet; the "network society"; regulating new media; the radical internet and terrorism; social networking, blogs and interactivity; culture and identity in the digital age; and how the internet affects politics and the media. .
PERFORMANCE SKILLS: THE ACTOR AND THE TEXT	LDCD2X27	20
This module is reserved for Drama majors (W400), Drama/Literature Joints (WQ43), Scriptwriting and Performance (WW84), and Theatre Directing Masters students. Drama Minors wishing to apply must first seek approval for inclusion from Mr T. Gash. The main methods of study are through: (1) individual performance of poems and speeches, (2) scene classes, (3) character study of roles in classic plays.
POLITICS AND MASS MEDIA	PSI-2A02	20
Mass media are an inescapable part of contemporary political life. This module examines the effect of mass media on political activity, considering their influence on voter behaviour, party campaigning and government practices. It also looks at the political values expressed within mass media and the political control exercised over mass 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.
PUBLISHING (AUT)	LDCE2X05	20
The module will be theoretical as well as practical including discussions around the design and editing of a text and what constitutes an editorial policy. Students will be taught how to set up, run and market their own publications (a magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies. This course will be assessed by a portfolio and a piece of coursework. Training on Desktop publishing packages Pagemaker and Photoshop will be provided as part of the course.
PUBLISHING (SPR)	LDCE2X06	20
The module will be theoretical as well as practical including discussions around the design and editing of a text and what constitutes an editorial policy. Students will be taught how to set up, run and market their own publications (a magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies. This course will be assessed by a portfolio and a piece of coursework. Training on Desktop publishing packages Pagemaker and Photoshop will be provided as part of the course.
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 METHODS FOR SOCIAL ANTHROPOLOGY	DEV-2D80	20
Part 1: Epistemologies, methodologies and methods Epistemologies, methodologies and methods, ethics, access, reflexivity. Rigour in qualitative research, triangulation, research design, sampling and selection. Part 2: Evidence and Testimony Kinds of interviews: structured, semi- structured, unstructured. Studying change: life histories, trends, ‘impact evaluation’, archives. Studying kinship and relatedness: genealogies. Discourse analysis Using case studies Part 3: Measurement and observation Participant observation, field notes. Measurement: time allocation, anthropometry, nutrition, health. Emic approaches: diaries, photography Ethnographic film Part 4: Analysis and interpretation Problems of causation, replication Interpreting speech. Using secondary data and policy documents. Discourse and textual analysis. Use of qualitative software Part 5: Ethnographic Products Ethnographic writing: emic/etic, analytical and descriptive Thick description, intertextuality and ethnographic comparison Ethnographic film.
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.
SPAIN THROUGH THE EYE OF A LENS	LCS-2H39	20
This module covers and explores the use of various visual resources which show elements of the contemporary history and culture of Spain and the evolution of the Spanish society during many decades of political upheaval. You will become familiar with important Spanish issues such as national stereotypes, violence, race, immigration, sexual identities and social transformation through the use of visual resources such as: films, TV commercials, programmes, documentaries and series, photography etc.
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.
TELEVISION GENRE	FTMF2F54	20
Work on television genre continues to draw on theories developed in relation to film, despite the fact that these theories have been heavily criticised. Not only can this ignore the differences between film and television genres, it can also work to privilege film over television, so that television is often seen as an inferior copy of genres developed elsewhere. The module will therefore explore the theory of genre in relation to television, the historical development of television genres, and the operation of genre in the production, mediation and consumption of television and its programmes. The module will also examine these debates in relation to concrete case studies. The module is taught by seminar and screening.
TELEVISION STUDIO PRODUCTION	FTMF2P33	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
TELEVISION STUDIO PRODUCTION	FTMF2P32	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1G450302, U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302. This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product.
THE BUSINESS OF FILM AND TELEVISION	FTMF2F35	20
The module provides an intensive introduction to the business of film and television; including the development, financing, production, distribution and exploitation of films and television programmes. It is based around a detailed understanding of the film and television value chain, showing how different businesses and creative people work together to create and exploit programmes. It will also cover the process by which scripts or TV programme ideas are written and developed. Emphasis will be placed on UK, European and American Independent film models, as well as the US studio model. It includes a wide range of recent case studies and real-life examples, with companies from Pixar to Working Title, and film-makers from Ken Loach to Terry Gilliam. Issues raised will include the impact of new technologies; changing business models; the conflict between commerce and art; entrepreneurship and managing creative people; and the complex and difficult relationships between writers, directors, producers, executives, financiers, and distributors. It is a practical forward-looking course about current and future business practise, which will be a valuable foundation for anyone interested in working in the media, film or television sectors. It will also be valuable to anyone studying film and television programmes and culture, so that they can fully understand the financial and business context in which programmes are created. By the end of the module you will know how films and TV programmes get dreamt up, how they get developed, and how they get financed and distributed. You will learn how the industry actually works.
THE COMPUTING REVOLUTION	CMPC2F05	20
The module is designed to provide students with an overview of the history of computing, the current state-of-the-art in a number of areas, and an insight into likely developments. Students consider social and ethical implications of use of computing technology along with security and safety of computing systems. Research techniques, report writing and team skills are developed. More...
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.
THE ECONOMICS OF FILM AND TV	ECO-2B09	20
The unit examines the economic underpinning of Film and Television production and the likely directions of these industries. What will happen to the quality of television programmes after the digital revolution? Why are movie stars paid such fabulous sums of money? Should the BBC continue to exist? And, if so, should it be funded by the licence fee? Why does Hollywood dominate the film industry? These are some of the questions addressed by the unit. No previous knowledge of economics is assumed.
THE ECONOMICS OF FILM AND TV (CW)	ECO-2B09C	20
This is a coursework only version of ECO-2B09 The Economics of Film and TV.
THE MEDIA AND IDENTITY	PSI-2A26	20
Drawing on a range of theoretical approaches in the field of media and cultural studies, this module explores the relationship between media culture and social identities. Discussing the representation of identity in media content, as well as issues of media production, regulation and consumption, it critically reflects upon the relationship between media culture and social power and considers how social and technological changes impact on the ways in which identity is experienced in everyday life. On successful completion of this module, students should be able, at threshold level, to critically reflect upon the ways in which media texts construct social identity and should be able to discuss the relationship between media and identity with awareness for social, institutional and technological factors that shape both media production and consumption.
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
THE WRITING OF JOURNALISM (AUT)	LDCC2W27	20
This module introduces students to key issues in newspaper journalism, providing the opportunity to learn through practice. Topics and activities will include reviewing and sub-editing, editorial policy and the techniques of excellent news and feature writing. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.
THE WRITING OF JOURNALISM (SPR)	LDCC2W28	20
This module introduces students to key issues in newspaper journalism, providing the opportunity to learn through practice. Topics and activities will include reviewing and sub-editing, editorial policy and the techniques of excellent news and feature writing. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.
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.
VISUAL DISPLAY	ART-2L05	20
This module examines the variety of ways in which visual displays operate - displays such as, for example, public rituals and art exhibitions. It investigates the many factors influencing how we are presented with and respond to artefacts and art objects. To do this, the module is structured around a series of historical and contemporary case studies drawn from around the world. The central aim is to promote and develop a critical awareness of the issues and complexities surrounding past and present visual displays.

Free Choice Study (40 credits)

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

Compulsory Study (30 credits)

Students must study the following modules for 30 credits:

Name	Code	Credits
FILM AND TELEVISION STUDIES 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.
FILM AND TELEVISION 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.
PRACTICE-BASED DISSERTATION (AUT)	FTMF3P83	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.
PRACTICE-BASED DISSERTATION (SPR)	FTMF3P84	30
You must have taken one of more of the following modules in order to progress onto the Practice-Based Dissertation: FTVF2P20, FTVF2F23,FTVF2P32, FTVF2P33, FTVF2P81, FTVF2P82, FTVF3P80, FTVF3P81, FTVF3P82. In taking this module, you cannot take any of the other FTV Dissertation modules. This module provides the opportunity to work on a practice-based dissertation investigating some aspect of Media, Film and/or Television studies. Students are expected to use audio-visual means to explore an academic question, engaging with a critical concept in both the practical and written elements of the Dissertation. Topics and amounts of practical work are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of either audio-visual work or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical dissertation work that refers to, and makes use of, relevant theoretical debates and issues. All practice-based dissertations will contain practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual dissertation project. ONLY AVAILABLE TO STUDENTS REGISTERED WITH FTV.

Option A Study (30 credits)

Students will select 30 credits from the following modules:

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

Option B Study (60 credits)

Students will select 60 credits from the following modules:

Name	Code	Credits
ANALYSING MEDIA DISCOURSES	PSI-3A41	30
The module will explore some of the main approaches to the analysis of media texts including structuralism, psychoanalysis and discourse analysis. These approaches will be discussed in relation to films like James Bond, advertising campaigns like the ones by the United Colors of Benetton, and newspaper articles on current affairs. The aim of the module is to bring together theory and hands-on analysis and research in media products.
ASIAN CINEMA	FTMF3F68	30
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.
AUSTRALIA: POLITICS, CULTURE, SOCIETY	PSI-3A12	30
This module examines the history, structures and key institutions of Australian government and their broader relationships with Australian society and culture. It has been argued Australia was manacled to its colonial past, and lacked innovation and proactivity. At the same time, the phrase, 'lucky country', has been used to project Australia as uniquely stable, politically, socially, and economically. Is this accurate? Some think so, attributing it to Australia's system of government: are they right? This module addresses such questions and, in its later stages, considers some of the challenges Australia faces, both internal and external, for example, regionalisation and globalisation.
BIOGRAPHY	LDCE3X46	30
How do writers attempt to capture 'life' in all its various forms? What, if any, are the different requirements in writing the life of a famous (or not so famous) person and that of a city or landscape? What about the 'life' of travel or food and how do you approach writing about the natural world? These are just some of the questions that this module sets out to address. We will be reading a wide variety of texts, from the 'traditional' biography to some of the more experimental examples of creative non-fiction. From Samuel Johnson to essays in The New Yorker, all human (and non-human) life will be there! Students may choose between writing their own piece of Biography or creative Non-Fiction as their final project or submitting a critical essay.
BROADCAST JOURNALISM	PSI-3A51	30
Broadcast Journalism provides students with an overview of modern journalism practices and related production processes. The module will enable students to contextualise academic study and criticism of news gathering and presentation processes. Students will collaborate in producing short, broadcast-style news reports, which will be compiled into a magazine format programme (see, for example, BBC’s The One Show). First, students will be trained in the 'art' of journalism; the techniques and practices that are used to create reports. Second, students will be introduced to production skills including cameras, sound and editing. Students will be taught by highly experienced production and news journalists and use broadcast quality equipment. The practical teaching will be reinforced by instruction on the packaging and presentation of news and factual material for broadcasting purposes.
CELEBRITY	FTMF3F64	30
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.
CONTEMPORARY DRAMA AND FILM	LDCD3X34	30
The module will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Issues covered include the (questioned) demise of explicitly political drama and the appearance of previously silenced voices (e.g. gay and lesbian themes, feminist playwrights and writing ethnicity, physical theatre practitioners).
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F57	30
This module offers students the opportunity to gain an understanding of the industries that many of them may well wish to work in. The media industries are those that produce culture, and so they naturally include television, film, music, publishing (books, newspapers and magazines) and so on. People often want to work in the media since this kind of work offers opportunities to be ‘creative’, to think independently and engage in activities which interest them already. But what does ‘creativity’ mean in different kinds of media work and what kind of conditions do those working in the media typically face? To explore such questions, we reflect on changes in the nature of work itself in modern societies. That is, when so much modern work is either temporary and precarious, with many in advanced industrial countries working longer hours than ever before, is there a danger that work is detracting from the quality of our lives rather than enhancing it? The module explores the potential to find pleasure, fulfilment (and a steady income), as well as pressure, frustration and precariousness in media work. It also looks at the extent to which it is feasible to do ‘good work’ in the media industries, as they become seemingly ever more commercial and competitive. How possible is it to produce challenging, innovative, groundbreaking, thoughtful or just genuinely entertaining media products? This means engaging with academic research and other writing, both historical and contemporary in nature. The above issues cannot be addressed through simple description. They raise important theoretical and historical issues about the place of artistic and professional creativity in modern societies.
CRIME TELEVISION	FTMF3F92	30
This module explores crime and investigation in recent US television, encompassing formal developments such as the use of group formats, specialist teams and genre hybrids. It considers theoretical/critical issues that may include the value and limits of approaching television via genre, representations of urban US life, the (lack of) engagement with questions of race, gender and the female investigator, gender and sex crimes, the statement and transgression of social/cultural taboos to do with sex, violence and identity and the increasing significance - post 9/11 - of paranoid narration, the investigation of terrorism as crime and the policing of US civil society. This module is taught by seminar and screening.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F10	30
This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.
MANGAMANIA AND JAPAN	HUM-3J01	30
This module explores the world of Japanese manga, its history, genres, authors, audiences, and its global success including film and anime adaptations. Since the 1990s, this visual medium has opened up to the West. Famous artists like Tezuka Osamu, Urasawa Naoki, Ikeda Riyoko and Aoike Yasuko have been translated into many languages. In this module we shall explore the function of manga in Japanese postwar history and society and analyse manga genres for different target groups (girls’ and boys’ manga, boys’ love, rorikon and yaoi). Special consideration is given to traditional gender roles in Japan (sararīman and OL) and their erosion, which entails new trends, topics and visual styles. We then scrutinise the depiction of recent economic and demographic changes in Japanese society (ageing, frītā, otaku), the popularity of robotic heroes, as well as the development of time travel narratives and the attitudes towards death. The aim of the module is to understand the core elements of Japanese manga addiction and the reasons for the current mangamania in the West. All sources and texts will be in English. No Japanese language proficiency is required. The module will have a three hour seminar and a separate screening
MULTICULTURALISM	PSI-3A38	30
This module looks at the political implications of the rise of multicultural societies in Europe since the end of World War II. Canadian experience will also be given consideration because of its importance to these debates both as a practical model as well as a source of influential theorists. The aim is to introduce students to a range of contemporary theoretical and practical perspectives on multiculturalism and facilitate critical assessment of the strengths and weaknesses of competing approaches in the light of political variants such as nationalism and alternative forms of liberalism. Theorists under examination would include; Parekh, Kymlicka, Tully, Taylor and Miller as well as major liberal alternative views; Barry, Rawls and Raz. Among the module themes the following will be addressed; group rights; institutional racism, Islamophobia, multicultural federalism, recognition vs toleration. The module will also look at divergent policies adopted within European states (eg: France and Germany) and give attention to the attempts to operationalize multiculturalism in the UK in particular via the Parekh Report.
NATIVE AMERICAN WRITING AND FILM	AMSA3S02	30
This module considers Native American writing and film as sites of cultural and political resistance, analysing the ways in which a diverse range of Native authors, screenwriters and directors within the United States respond to contemporary tribal socio-economic and political conditions. Taking popular ideas of 'the Indian', this module considers the ways in which stereotypes and audience expectations are subverted and challenged. Topics include race and racism, indigeneity, identity, culture, gender, genre, land and notions of 'home', community, dialogue, postcolonial theory in its application to those who remain colonised, and political issues such as human rights and environmental racism.
POLITICAL COMMUNICATION	PSI-3A10	30
Political communication occurs on many different levels, and subsequently with different implications and effects. Political communication can be verbal or nonverbal by political actors or about political actors and systems. This module builds upon the Politics and Mass Media unit and explores the forms and impact of political communication. It will be organised around the themes of who communicates, whether that is the state, celebrities, media organisations, the message they communicate, and the effect this has on the receivers of the message. The module will address areas such as spin, globalisation, the role of the new media in order to explore the changing nature of political communication.
POLITICAL ECONOMY OF THE ENVIRONMENT	PSI-3A44	30
In an attempt to better understand the environmental dilemmas that confront us in the contemporary world, this module tries to move beyond the limitations of mainstream political and economic analyses. In coming to terms with the threats of environmental degradation and climate change, it tries to reawaken a broader type of ethical, natural and social theorisation that defined an earlier political economy. This is not a module on environmental or resource economics, nor are students expected to have an economics background. Rather, this module tries to understand social production as much more than a series of market relations. It tries to develop a broader socio-cultural understanding of production that "de-naturalises" the way we view and exploit the natural world.
POLITICS AND POPULAR CULTURE	PSI-3A37	30
The module explores three issues: the role of popular culture in political thought and action, the political organisation of, and response to, popular culture, and the political meanings and interpretations placed upon popular culture.
POWER OVER THE PACIFIC: THE AMERICAN RELATIONSHIP WITH ASIA	PSI-3A29	30
This module will introduce important themes in the American relationship with East Asia, at a time when the Pacific region has assumed great importance. There will be a particular focus on the important historical periods in the American relationship with China and Japan. An understanding of elements of the trajectory of these relationships will be provided by taking a selection of historical subjects for analysis. While this will address the knowledge of history, and of long-term themes, the latter part of the module will consider contemporary political issues. This will require an understanding of the interaction of the United States with Asia, and China and Japan in particular.
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.
SELLING SPECTACLE	FTMF3F45	30
Spectacle is the cornerstone of the modern film industry, in Hollywood and in other national cinemas around the world. Blockbusters and other films are produced, marketed and exhibited using epic language, hyperbolic visuals and overblown promotional materials. Yet despite these excessive claims, the world of selling spectacle and epic marketing techniques are often overlooked in academic or critical discussions. This module will explore the history of spectacle within the global film industries, the cinematic technologies that have been created to enhance that spectacle, and the advertising and promotional techniques that were utilised to emphasise and display it. Following the work of theorists such as Tom Gunning, Geoff King, Janet Staiger and Barbara Klinger, the module will demonstrate the historical development of spectacle and selling that lies behind the modern system of film production, distribution and exhibition. Understanding the theory and methodologically distinct approaches needed to analyse posters, press books, trailers, websites, interviews, and critical reviews will be an essential component to this module. Students will be expected to engage with both theories of film advertising and analysis of marketing materials and other related epiphenomena. While the module will consider some films that may be described as belonging to the ‘epic’ genre ('The Ten Commandments', 1956; or 'Gladiator', 2000) this module is not concerned with generic traits so much as spectacular production practices throughout film history, and the industrial practices that were invented to educate audiences in such new, spectacular, images and concepts. Using specific case studies, the module will trace the historical development of spectacle within filmmaking, and its role in redefining the function of film advertising and promotion.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F52	30
Stanley Kubrick is regarded as one of the most important filmmakers of the 20th century, with '2001: A Space Odyssey' (1968) and 'Dr Strangelove' (1964) being listed in critics' polls as two of the best films ever made. Kubrick also was one of the most commercially successful directors of the 1960s and 1970s. This module concentrates on the 11 full-length films he made from 1956 to 1999, but also considers his early career as a photo-journalist and maker of documentary shorts and short features. The module examines the production, themes, style and reception of Kubrick's films, and situates them in the context of broader developments in American cinema, culture and politics.
TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE	FTMF3F61	30
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation
THE AMERICAN BODY	AMSA3S30	30
This module reads the changing values, presentations and representations of the body that move through and construct American culture. This module will involve pairing theoretical perspectives with current and historical ideas of the body to allow us to interrogate intellectual and popular meanings assigned to and played out through the body, reading particular moments in American writing, art, photography and popular forms for the things they might tell us about corporality and self presentation, but also about the wider structures of the social and cultural environment. We will engage with canonical debates about race, gender, sexuality and ideas of ‘representation’, but also with categories that cut across and through these modes of reading – with the normal and the ideal, ideas of illness and wellness, ability and disability, of the organic and the machine, of the body under servitude, or under punishment, and with the whole idea of embodiment in itself. This module – like all other modules at this level - requires a substantial, regular, reading commitment.
THE GREAT SOCIETY: AMERICA FROM JFK & LBJ TO NIXON, 1960-74	AMSA3H01	30
This module follows the American story from 1960-1974, from the promise and tragedy of JFK’s Camelot, through the achievements and frustrations of LBJ’s Great Society, to the period of adjustment – and disillusionment – during the Presidency of Richard Nixon and the era of Watergate. The work covers the key political events of a period that saw a defining struggle between liberalism and conservatism – one which continues to resonate to this day. In part it focuses upon the politicians who helped define the era – such as Bobby Kennedy, Barry Goldwater, and George Wallace as well as the Presidents. But consideration is not confined to Washington politics: we will look at popular protest, from the Civil Rights movement and Black Power to the New Left, the peace movement, women’s liberation, and Stonewall. We consider the war on poverty, the politics of race, the emergence of a new environmental awareness, the questioning of gender, and the sexual revolution. In addition, the unit includes discussion of the continuing significance of the Cold War, not least in respect of Vietnam and the Space Race. Students are also invited to consider the ways in which the dramatic changes and conflicts of the era shaped American culture, especially movies, music, art, and literature
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.
YOUTH IN MODERN EUROPE	HISH3J04C	30
The importance of youth as a driving force for social change has been recognised by many historians. Young people were often at the forefront wherever revolutions took place, wars were fought and tensions in society erupted. However, the historical study of youth is still a relatively young discipline. The module uses ‘youth’ as a prism to study key themes in 20th century European history, such as the experience of war, life under dictatorship and the longue durée of social change. We shall examine the diverse experience of youth in Western and Eastern Europe during war and peace times, including the Communist and Nazi state-sponsored youth systems, and also the way in which generational experience and conflicts became underlying forces for social and political change. The module employs a strong comparative approach and countries studied include France, Britain, the Soviet Union, West and East Germany, Poland, Hungary and Czechoslovakia. The seminars will be accompanied by several film screenings.

Disclaimer

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

Entry Requirements

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

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

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

Interviews

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

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

Gap Year

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

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

Intakes

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

Alternative Qualifications

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

GCSE Offer

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

Assessment

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

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

Fees and Funding

University Fees and Financial Support: UK/EU Students

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 Film, Television and Media 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 (Film and Television)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

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

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