| 17TH-CENTURY WRITING: RENAISSANCE, REVOLUTION, RESTORATION | LDCE2Y13 | 20 |
| This course explores 17th Century writing in diverse forms, familiar and unfamiliar: the masque, poetry, prose fiction, but also political prose and the antecedents of what we now call 'journalism'. We will consider the place of these works in society and in their intellectual and cultural contexts. |
| 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. |
| 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. |
| AUSTEN AND THE BRONTES: READING THE ROMANCE | LDCE2X28 | 20 |
| This module will consider three texts by Austen and the Brontes. A wide variety of literary and historical contexts will be discussed: feminisms, colonialism, impact of war, the social status of the woman writer, representations of governesses, madness and mad women, rakes, foreigners and strangers, minds and bodies, heroes and heroines. We investigate the ways that the lives of the authors of these novels have been told and read as romances. Opportunities will be available to work on film versions. Work on any text by these authors is welcomed in class, coursework and in the examination. |
| 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. |
| CONTEMPORARY WRITING | LDCE2Z34 | 20 |
| This module aims to take an open snapshot of different modes of writing in the recent British scene, not a post-war history of the novel. Together with the question of exactly what it means to be contemporary, we shall concentrate on a small number of thematic and/or formal features, looking in particular at more adventurous examples of recent literature. |
| CREATIVE INDUSTRIES RESEARCH INTERNSHIP (AUT) | LDCD2X19 | 40 |
| Supervised placements and internships in one or other of the performance orientated creative industries in Britain or elsewhere. Available to students in LIT, FTV and elsewhere, as well as Drama on approval of a viable proposal. |
| CREATIVE INDUSTRIES RESEARCH INTERNSHIP (SPR) | LDCD2X20 | 40 |
| Supervised placements and internships in one or other of the performance orientated creative industries in Britain or elsewhere. Available to students in LIT, FTV and elsewhere, as well as Drama on approval of a viable proposal. |
| CREATIVE INDUSTRIES RESEARCH PROJECT (AUT) | LDCD2X35 | 20 |
| Either an extended piece of research and writing on a drama related topic selected by the individual student with the approval of the module organiser, or an approved and supervised solo performance piece. |
| CREATIVE INDUSTRIES RESEARCH PROJECT (SPR) | LDCD2X36 | 20 |
| Either an extended piece of research and writing on a drama-related topic selected by the individual with the approval of the module organiser, or an approved and supervised solo performance piece. |
| CREATIVE WRITING : INTRODUCTION (AUT) | LDCC2W11 | 20 |
| An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 2 Creative Writing modules. The teaching uses structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of prose fiction and poetry. In the first half of the seminar students will write about 'what they know', drawing on notebooks, memories and family stories. In the second half the focus will shift to the work of established authors, using sample texts as a stimulus to students' own writing. |
| CREATIVE WRITING: DRAMA (SPR) | LDCC2W24 | 20 |
| This unit develops students' abilities to invent and understand dramatic texts. Methods include structured exercises in writing drama and the exploration and analysis of a range of plays. Compulsory for WW84 students. |
| CREATIVE WRITING: INTRODUCTION (SPR) | LDCC2W08 | 20 |
| An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 2 Creative Writing modules. The teaching uses structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of prose fiction and poetry. In the first half of the seminar students will write about 'what they know', drawing on notebooks, memories and family stories. In the second half the focus will shift to the work of established authors, using sample texts as a stimulus to students' own writing. |
| CREATIVE WRITING: POETRY (AUT) | LDCC2W07 | 20 |
| This module enables students to test the range of their abilities as writers of poetry. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work. |
| CREATIVE WRITING: POETRY (SPR) | LDCC2W20 | 20 |
| This module enables students to test the range of their abilities as writers of poetry. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work. |
| CREATIVE WRITING: PROSE FICTION (AUT) | LDCC2W01 | 20 |
| This module enables students to test their abilities and potential as writers of prose fiction. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre, voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. Aim: The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work. |
| CREATIVE WRITING: PROSE FICTION (SPR) | LDCC2W14 | 20 |
| This module enables students to test their abilities and potential as writers of prose fiction. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre, voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work. |
| CRITICAL THEORY AND PRACTICE | LDCE2X15 | 20 |
| This module will explore changing responses to the central questions of poetics. What kinds of truth, if any, do poetry and fictional writing tell? What is the nature of the imagination or the role of invention? How does fictional writing relate to philosophy, religion, rhetoric or science? This module will approach these questions through a combination of historical, theoretical and practical approaches. |
| CULTURAL THEORY AND ANALYSIS | LDCE2X17 | 20 |
| This module introduces some major critiques of modern culture and encourages their critical assessment and application by students. It is organised historically and moves from Matthew Arnold's influential, Victorian, normative understanding of culture to twentieth-century approaches to mass culture, modernity and postmodernism in the work of critics who include Adorno, Horkeimer and Michel Foucault. The critical thinking about culture that is developed in this module should strengthen interdisciplinary ability. |
| DRAMA OUTREACH PROJECT | LDCD2X30 | 20 |
| Reserved for students on courses: W400U1, WQ43U1, WW84U1. Group practical theatre work which entails public performance to target audiences in the community or on campus. |
| 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. |
| ERASMUS EXCHANGE: SPRING SEMESTER | LDCE2A02 | 60 |
| LDC students going abroad under the ERASMUS exchange scheme for the Spring semester must enrol for this module. Students going abroad under the ERASMUS exchange scheme to Dublin will need in addition to enrol for module LDCE2A01. Further details on the ERASMUS scheme are available from the Study Abroad Office. |
| EUROPEAN LITERATURE: ENCOUNTERS WITH 'OTHERNESS' | LDCE2X24 | 20 |
| This module explores critical and aesthetic issues raised by general and comparative literature, issues of 'influence', reception, intertextuality, translation, formal and generic comparabilities, national identity and cultural borrowing. Theoretical questions will be examined through specific examples and case studies, ranging across different periods and geographies; however the focus is likely to be on the modern period. Works studied may include texts by eg Kafka, Sebald, Calvino, Celan. |
| FILM THEORY | FTMF2F43 | 20 |
| This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as Andr�� Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela B��l��zs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts. |
| FROM PUSHKIN TO CHEKHOV: NINETEENTH-CENTURY RUSSIAN FICTION | LDCE2Z33 | 20 |
| This unit offers students the opportunity to study some of the great works of nineteenth century Russian fiction by authors such as Gogol, Turgenev, Tolstoy and Dostoevsky. Russian writers were convinced that their country's literature had been too dependent on European models and they set out consciously to create a distinctly 'Russian' tradition. What did this involve and why subsequently were the works of authors like Dostoevsky and Chekhov received so rapturously when they became available in English translations at the beginning of the twentieth century? We will also examine this writing in its social, historical and political context, which raises questions regarding the significance of gender, censorship and empire. |
| FROM TRAGIC TO EPIC PERFORMANCE | LDCD2X47 | 20 |
| Through readings of classical and neo-classical generic criticism, as well as through an investigation of performance and staging demands, the module examines classical, post-classical and early modern forms of tragedy, and contrasts them with the complex emergent forms of tragicomedy and (later) epic, which, in different ways, re-model or resist the central experience of tragic reception. The course will look at plays selected from different genres, countries and periods, e.g. classical Greek (Sophocles) and Roman (Seneca) French Neoclassical (Racine), Spanish golden age (Lope de Vega Calderon), English Jacobean (Middleton and Rowley, Ford), Japanese Kabuki, post-revolutionary German (from Schiller to Brecht). By positing strategies for reading and performing such plays, it will thus develop a deeper knowledge of stage history and of complex theatrical styles. It will also engage with critical discourse, especially in aesthetics and genre criticism (Zeami, Aristotle, Castelvetro, Dryden, Lessing, Brecht). |
| 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. |
| LITERATURE STUDIES SEMESTER ABROAD: AUSTRALIA (SPRING) | LDCE2A04 | 60 |
| A semester spent at an Australian university taking an approved course of study. Restricted to students on Q300U1, Q3W8U1, QV31U1, WW84, WQ43, W400 |
| MEDIEVAL WRITING | LDCE2Y15 | 20 |
| This module is designed to provide an introduction to the study of medieval English language and literature. In a series of lectures and seminars students will work through a small but representative selection of medieval texts, including lyrics, romance, drama and prose, in order to develop a working knowledge of the language - Middle English - and an appreciation of different forms and genres found in medieval writing. Medieval texts and contexts will be used as a means of familiarising students with medieval language, and form the basis for further units in medieval writing that may be taken within the School. |
| MODERNISM | LDCE2Z15 | 20 |
| The purpose of this module is to study the literature of the early decades of the twentieth century - very roughly 1900-1930 - in particular the work of those authors who attempted to break with received norms of literary style and content. The module is organised as a series of thematic explorations - poetic experiment, memory and desire, myth and innovation, and so on - and thus does not follow a chronological structure. The sequence of guiding lectures focuses its deliberations on a set of specific texts, with their contexts, and these are taken up for discussion in the accompanying seminars. 'Modernism' is this constructed gradually over the semester as a mosaic of closely related issues, each one reflecting on the others. As well as providing an overview of defining textual features, in prose and poetry, the module is concerned also with the interrelation of text and context, offering a range of ways of conceiving of modernist literature as both of, and self-consciously ahead of, its historical moment. |
| NINETEENTH-CENTURY WRITING | LDCE2Z30 | 20 |
| This module focuses on the novel and society in the nineteenth century, reading Scott, Austen, the Bront��s, Dickens, Gaskell, Eliot, James and Conrad and considering how the writing responds to the material conditions of production - authorial biography, publishing economics, literary genres, contemporary politics, the subjection of women, the rise of the middle class and economic changes such as the growth of the city, the railway booms, Chartism and industrial relations and the development of the British empire. |
| 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. |
| POLITICAL THEATRE | LDCD2X02 | 20 |
| This module examines the use of theatre and performance - by the State, by oppositional groups, by political activists and by theatre and performance practitioners - to solidify or challenge structures of power. The course looks at specific examples of how theatre and public spectacles have been used in the twentieth century to control or contest the political stage. Examining American, South America, African, Russian, and Eastern European performance in the twentieth century, this class will document and explore through specific performances, videos, dramatic texts and theoretical essays, how performance in theory and practice can be used to explore issues to race, ethnicity, gender, political upheaval and social change within a society. |
| 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 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. |
| ROMANTICISM 1780-1840 | LDCE2X26 | 20 |
| Romantic Literature is often thought of as poetry, primarily work by Blake, Wordsworth, Shelley, Keats and Bryon. But the signs and forms of Romantic sensibility can also be found in a much broader constituency of writing practice: the novel, letter writing, the essay, political and aesthetic theory, and writing of all kinds taken as social commentary. This module is taught through a combination of lectures and seminars. |
| SHAKESPEARE | LDCE2Y04 | 20 |
| The aim of this lecture-seminar module is to help you become a better reader of Shakespearean drama. He was writing between about 1590 and about 1610; obviously his plays speak to us over a great cultural distance, and we can find fresh ways of reading them by exploring the theatrical, generic and historical frameworks in which they were written and staged. The lectures, then, will introduce a range of contexts, and the seminars will seek to turn them to account in the reading of the dramatic texts themselves. |
| 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. |
| 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 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. |
| THEATRES OF REVOLT: NINETEENTH-CENTURY EUROPEAN DRAMA | LDCE2X07 | 20 |
| Beginning with Ibsen and Strindberg, this module examines the development of modern forms of drama during the nineteenth and early twentieth centuries, addressing modern concerns - self and society, gender, sexuality, social and class conflicts, creation and destruction, the unconscious - and deploying experimental types of theatre by Chekhov, Maeterlinck, Wilde, Hauptmann, Buchner and Wedekind, as well as the two seminal Scandinavians. We will be looking at versions of Naturalism, Symbolism and Expressionism as modernist modes in drama and suggesting ways in which these shape and anticipate later developments. There will be opportunities to view some of the plays on film. Assessment is by means of seminar participation, one piece of textual analysis and one longer essay. Drama students may include a performance element as part of the assessment. |
| THREE WOMEN WRITERS | LDCE2Z38 | 20 |
| The writings of Edith Wharton, Katherine Mansfield and Virginia Woolf intersect with discourses of 'new women' and gender as well as feminism, and social and cultural history. This second level seminar develops historicist and generic understanding as well as exploring women's identity through these authors' writings which move between realism and modernism. Special attention to just one writer is possible in the final essay. Particular attention will be given to some of Virginia Woolf's lesser known writing. Exclusive to students on Literature and Creative Writing programmes and all joint programmes with Literature. |
| WAR LIVES: WRITING BRITAIN IN WORLD WAR II | LDCE2X34 | 20 |
| World War II brought the horror of war home to the British. War invaded the country in new ways: it reshaped Britain's landscapes, radically altered the social practices of everyday life, and shattered people's very sense of what it meant to live. As one writer remarked, the war "worked at a thinning of the membrane between the 'this' and the 'that'. War life, for many, was hallucinatory, and the struggle to write the war, and its peculiar relation to Britain's home-front, invades the writing of the 1940s in strange and unpredictable ways. This module examines both fiction (short stories and novels) and non-fiction (essays and letters) by writers such as Elizabeth Bowen, A. L. Barker, Angus Wilson, Henry Green and Patrick Hamilton, as well as critical work on the literature of the period, to examine how writing in and about Britain during the Second World War struggled to account for the uncertainties and instabilities of war lives. |
| WORLD LITERATURE: READING GLOBALLY | LDCE2X29 | 20 |
| The term 'world literature', coined by Goethe as a means for promoting universal understanding, and then taken up by Marx and Engels as a symbol of modernity, has today become not only a booming area of academic research, but also a publishing phenomenon. This module introduces literature from around the globe, specifically texts that have had and continue to have an impact on an international readership and that frequently demand a self-consciously different mode of reading, one that recognises otherness while simultaneously finding points of commonality. Primary texts will include the ancient Babylonian epic Gilgamesh, the classical Japanese Pillow Book of Sei Shonagon, The 1001 Nights, the King James Version of the Bible, as well as more contemporary works by authors such as Bei Dao, Orhan Pamuk, Salman Rushdie, Tayeb Salih and Yoko Tawada. To contextualise our diverse readings, a range of critical and theoretical explorations of what it means to read (or to write) beyond the borders of a national literature will also be studied. The vital role of translation, understood in both the linguistic and cultural sense, in creating the world literature text will further ground much of the discussion. |
| WORLD PERFORMANCE | LDCD2X16 | 20 |
| This module is reserved for Drama Majors (W400U1), Scriptwriting and Performance Majors (WW84U1) and joint EL/DL Majors (WQ43U1) or approved minors only. It will include practical exploration, observation and analysis of video material, and discussion of the nature and function of performance events. The examination is a drama practical - each person has a 15 minute slot. |
Drama at the University of East Anglia has been ranked 2nd in the Guardian University Guide 2012, leaving other prestigious theatre and drama schools in its shadow. This programme offers you the opportunity to study creative writing for each of the major dramatic media - theatre, cinema, television and radio - combined with practical, critical and historical studies in dramatic literature and performance. You will be introduced to the specific formats, conventions and techniques of scriptwriting for different forms, and will learn by writing scenes and short scripts, and critiquing each others' work. Working alongside students on other drama programmes, you will develop your writing skills in the context of an understanding of many aspects of theatre work, including acting, rehearsal and production methods. You will be able to opt to do the Drama Internship in year 2, which involves a work placement in a drama-producing organisation or environment and you will be able to take part in production and practical project work.
The School of Literature, Drama and Creative Writing brings together writers, scholars, teachers and students in an exploration of the powers and possibilities of literature. Our aim is to make creative writing and critical reading confront one another in ways that sharpen and enliven both. We teach and research across the range of English Literature from the fourteenth century to the twenty-first. This coverage is supplemented by our interests in European Literature, in postcolonial writing in English across the world, and in literary and cultural theory.