| Semester 2 |
C/O |
TYP |
ECTS | CATS |
|
|
ENG-20036 |
Twentieth Century Novels into Films |
EA |
C
|
7.5 |
15 |
|
|
Film has always had a close relationship to the novel through both literary adaptation and novelists who have also been screenplay writers. It has, nonetheless, frequently been framed as the poor relation of the two in terms of cultural value. By examining the distinctiveness and complexity of film language and the relative parameters of literary and film modes of narration, this module will examine some of the key but distinctive questions that need to be addressed when thinking about how film and literature make meaning. The module is specifically focused on the construction of history within narrative and will investigate how the categories of personal and collective memory, political conflict, change, national identity and gender are articulated in three novels and their film adaptations. |
|
|
FIL-20005 |
Science Fiction Cinema: Utopias and Dystopias |
EA |
M
|
7.5 |
15 |
|
|
This module aims to provide a critical introduction to many of the key theoretical ideas and historical contexts informing the development of science fiction cinema. Focusing on a number of significant films from the history of cinema, the module will look to define what constitutes science fiction as a film genre. In particular, we will consider science fiction cinema's function as a mode for exploring ideas and hypotheses, both about the future and - by reflection - about our present. We will also engage with debates about the status of science-fiction cinema ('sci-fi') in relation to science-fiction literature ('SF'), analysing their differences, and looking at the particular relationships viewers and readers have to science-fictional texts. |
|
|
MDS-20007 |
Media Comm and Culture - Study Abroad III |
EP |
C
|
7.5 |
15 |
|
|
This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
|
|
MDS-20008 |
Media Comm and Culture - Study Abroad IV |
EP |
C
|
7.5 |
15 |
|
|
This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
|
|
MDS-20018 |
Thinking Photography |
EP |
C
|
7.5 |
15 |
|
|
Thinking Photography is an elective module for second year students and will be of particular interest to those studying Media, Culture and Communications. The module places an emphasis on both photographic theory and practice. We will look at how ideas about photography have evolved and how theory can inform your own practical work. Alongside this we will be looking at different genres of photography and individual photographer's work and asking pertinent questions about the definition and intent of the work as both artefacts and modes of communication. You will be able to advance both your critical understanding of photographic practice, your own photographic practice and Photoshop software skills.
Reading List
Although no textbook covers everything we do on this module the books listed below give a good overview of the subject area:
Clarkle G 1997 The Photograph Oxford University Press
Wells, L (ed) 2003 The Photography Reader Routledge
Wells, L (ed) 2009 Photography: a critical introduction Routledge
Sturken M, Cartwright L, 2001 Practices of Looking: an introduction to visual culture Oxford University Press
Sontag, S. 2002 On Photography Harmondsworth: Penguin
Burgin, V (ed) 1982. Thinking photography Basingstoke: Macmillan
Soloman-Godeau, A. 1997 Photography At The Dock University of Minnesota Press
Barthes, R. Camera Lucida: reflections on photography. Translated by R. Howard 1984 London Flamingo |
|
~
|
MDS-20019 |
Analysing Culture |
C |
C
|
7.5 |
15 |
|
|
In Analysing Culture we consider how culture enables people to make sense of their personal and social lives. The first session of the course refers to Geertz&©s classic paper on Balinese society to introduce the concept of culture. The key question we want to ask through our study of Geertz essay is $ùwhat is culture?&© Following this example of an anthropologically strange culture we move on to think about the construction of national identity through a consideration of Hall&©s work on western identity, Said&©s essay on orientalism, Anderson&©s notion of imaginary communities, and various representations of contemporary nationality. Although the nation has provided a strong cultural map for people since the middle of the 17th century, the rise of modern urbanism has challenged this cultural form through its embrace of privacy and a culture of alienation. In week 3 we consider urban culture, read Simmel&©s classic essay on the metropolitan mind, and think about the ways in which the city is represented today. In the next session we show how people have sought to relate culture to the problem of alienation in modern culture. In week 4 we think about the notion of consumer culture through Adorno and Horkheimer&©s idea of mass culture and Klein's theory of branding and consider how commodities might work like narcotics that numb our senses to the impoverished reality of our one-dimensional society. Our key cultural texts here is Danny Boyle&©s film Trainspotting.
In the second part of the course we begin by thinking about cultural politics. In week 5 we focus on Bourdieu&©s idea of distinction and think about how far his theory reflects popular uses of culture in the contemporary world. For Bourdieu culture is not simply a form of deception, but rather a tool that people use in order to try to distinguish themselves from other people in the endless struggle that is competitive capitalism. Although Bourdieu suggests that people use culture for their own purposes, he thinks that they use it unimaginatively and strictly within the confines of capitalist ideology. Thus we may say that Bourdieu is essentially a Marxist. In week 6 we try to extend the Marxist theory of culture through an exploration of the works on the key writers on everyday life. In particular we refer to the idea of contested culture expressed in the works of the French theorists of constructed space and everyday life, Lefebvre and de Certeau. The purpose of this exercise is to suggest that culture may be a space of negotiation, contestation, and confrontation, rather than simply a mechanism of deception or distinction.
In week 7 we extend our exploration of this idea of cultural resistance through a discussion of the theory of sub-culture. This theory shows how new communities are able to emerge through consumer relations and cultural performance. We address this theory through a consideration of the classic example of punk, the more contemporary case of gangsta rap, and a reading of the works of the cultural sociologists of performance, Goffman, Garfinkel, and Mead. In the final three weeks of the course we move on to focus on theories of post-modernism, the culturally constructed body, and globalisation. In week 8 we explore the idea of post-modern culture through Dominic Strinati&©s essay on the topic, David Lynch&©s cinema, and Fredric Jameson&©s influential paper, Post-modernism, Or, The Cultural Logic of Late Capitalism. For Jameson culture is the dominant form of identification in post-modern society. He thinks that people no longer worry about economics or politics, but rather understand these categories through culture. What does this mean? We will try to find out week 10 when we consider the ideas of global culture and anti-capitalism. But before we consider global culture, we examine the post-modern concern for the body and in particular Bordo's theory of the economic body. In week 9 we approach Bordo's theory through a cultural history of thinking about and imaging the body, taking in the Greek God body, the modern super-hero body, and the post-modern techno body, represented by both Haraway's cyborg, Bordo's metabolic body, and various science fiction bodies.
Our study of the body, and body image, allows us to think about the ways that politics and economics are subsumed in culture in global society. Shifting from a study of the microcosm of the body to the macrocosm of the globalised world, in week 10 we refer to the works of contemporary writers, such as Giddens and Beck, who dispute the claims of the conflict theorists, such as Adorno and Horkheimer, by arguing that there is no monolithic centre of power that imposes meaning upon people&©s lives in global society. Rather Giddens and Beck argue that contemporary culture is characterised by risk, chance, and freedom of choice. In this session we think about their suggestion that traditional power structures no longer hold in post-modern / global society through an exploration of the idea of the new social movement and in particular anti-capitalist cultural politics. Our core text for this session is the recent film, Fight Club, which connects visions of the body and globalised consumer capitalism to issues of revolutionary cultural politics.
|
|
|
MDS-20029 |
DIY Broadcasting: Digital Culture and You |
EP |
C
|
7.5 |
15 |
|
|
Although initially developed as a method of military and scientific communication in the 1960s, since the early 1990s internet use has become increasingly popular, with the majority of households in developed countries now connected to high-speed broadband. The internet age has bought about changes in modern society and the way that we communicate - perhaps most notably in the form of increased access to information, culture and the global marketplaces.
This module explores the impact of new technologies on media forms and audiences. In particular we will explore how these developments have democratised the media and provided opportunities for users to be producers. We will consider the questions this so-called democratisation of media raises. Can media truly be owned any more? What is the role of copyright? Where, if at all, do the boundaries between the amateur and professional lie? Perhaps most importantly, have the masses finally found their voice in modern society though collaboration and communication on a mass scale, or are we increasingly distracted and confused by a cacophony of anonymous and indistinguishable chatter? Over the course of this module there will be a variety of lectures, seminars and some practical sessions.
Assessment is based on a group practical piece and an individual critical evaluation (50%), plus an essay at 50%.
Introductory Reading:
Staiger J and Hake, S (2009) Convergence Media History. Routledge
Lister, M et al (2008) 2nd ed New Media: A Critical Introduction, London: Routledge
Trend, D. (2001) Reading Digital Culture, Blackwell.
|
| Semester 1 |
C/O |
TYP |
ECTS | CATS |
|
|
FIL-30001 |
British Society through the Eyes of British Film: 1960s to the Present |
EA |
M
|
7.5 |
15 |
|
|
For economic reasons British Cinema has had a chequered history, especially since the 1960s. At all times, however, British directors have sought engagement with social issues, and many leading directors have striven to cast a critical eye on contemporary social and political events.
This module will seek to track the development of British society as it has been reflected in the British movie over the last five decades. It begins with a concentration on the pioneering films and directors of the 1960s, before moving through later decades to focus on the most recent developments. Participants on this course will be introduced to key social themes: working class culture (Saturday Night &©s Blow-Up) and dystopian anxiety about the implications of social and cultural change (If ... and A Clockwork Orange). Later films will concentrate both on the depiction of the underside of British society in My Beautiful Laundrette, My Name is Joe and This Is England, while multicultural modern Britain will also feature in My Beautiful Laundrette, Secrets and Lies, East is East, Bend it Like Beckham, Dirty Pretty Things and It&©s a Free World. At the same time students will be introduced to the work of some of the most important directors working in Britain over the last 40 years, including Lindsay Anderson, Ken Loach, Stanley Kubrick, Mike Leigh, Stephen Frears and Shane Meadows.
|
|
|
FIL-30001 |
British Society through the Eyes of British Film: 1960s to the Present |
O |
M
|
7.5 |
15 |
|
|
For economic reasons British Cinema has had a chequered history, especially since the 1960s. At all times, however, British directors have sought engagement with social issues, and many leading directors have striven to cast a critical eye on contemporary social and political events.
This module will seek to track the development of British society as it has been reflected in the British movie over the last five decades. It begins with a concentration on the pioneering films and directors of the 1960s, before moving through later decades to focus on the most recent developments. Participants on this course will be introduced to key social themes: working class culture (Saturday Night &©s Blow-Up) and dystopian anxiety about the implications of social and cultural change (If ... and A Clockwork Orange). Later films will concentrate both on the depiction of the underside of British society in My Beautiful Laundrette, My Name is Joe and This Is England, while multicultural modern Britain will also feature in My Beautiful Laundrette, Secrets and Lies, East is East, Bend it Like Beckham, Dirty Pretty Things and It&©s a Free World. At the same time students will be introduced to the work of some of the most important directors working in Britain over the last 40 years, including Lindsay Anderson, Ken Loach, Stanley Kubrick, Mike Leigh, Stephen Frears and Shane Meadows.
|
|
|
FIL-30005 |
Parody in British Film and Television |
EA |
M
|
7.5 |
15 |
|
|
The aim of this module is to consider and critically discuss the place of parody as a mode in British film and television, focusing on such examples as the films of Monty Python, recent Channel 4 comedy, and British science fiction on the big and small screen. The module looks to situate parody as a specific tendency in British film and television production, considering the kinds of aesthetic approaches such texts employ, the cultural identities they work to produce, and the types of cultural debates surrounding them.
The module will involve detailed textual and contextual analysis of the chosen texts, considering the ways in which parody works as an aesthetic practice. At the same time, we will think about the kinds of debates generated by parody as an increasingly dominant mode in global film and television production: Is parody subversive or conservative? How can parody be used to explore and interrogate issues of representation? How do audiences relate to parody texts? In what ways do tendencies in parody reflect changes in the status of cultural texts, and attitudes to these texts?
In line with these questions, the module will focus on the specific meanings of parody within a British context. In what way, for example, does the British tendency toward parody reflect a critical or subservient relationship to dominant (American) film and television production? What forms of national identity are constructed through the parody of such texts? How might the industrial, economic and technological circumstances of British film and television dictate the parodic form of much of its output? |
|
|
FIL-30005 |
Parody in British Film and Television |
O |
M
|
7.5 |
15 |
|
|
The aim of this module is to consider and critically discuss the place of parody as a mode in British film and television, focusing on such examples as the films of Monty Python, recent Channel 4 comedy, and British science fiction on the big and small screen. The module looks to situate parody as a specific tendency in British film and television production, considering the kinds of aesthetic approaches such texts employ, the cultural identities they work to produce, and the types of cultural debates surrounding them.
The module will involve detailed textual and contextual analysis of the chosen texts, considering the ways in which parody works as an aesthetic practice. At the same time, we will think about the kinds of debates generated by parody as an increasingly dominant mode in global film and television production: Is parody subversive or conservative? How can parody be used to explore and interrogate issues of representation? How do audiences relate to parody texts? In what ways do tendencies in parody reflect changes in the status of cultural texts, and attitudes to these texts?
In line with these questions, the module will focus on the specific meanings of parody within a British context. In what way, for example, does the British tendency toward parody reflect a critical or subservient relationship to dominant (American) film and television production? What forms of national identity are constructed through the parody of such texts? How might the industrial, economic and technological circumstances of British film and television dictate the parodic form of much of its output? |
|
~
|
MDS-30012 |
Creative Magazine Production |
O |
C
|
7.5 |
15 |
|
|
This module will provide you with the experience of working in a planning and production team in the layout of an envisaged $ùmagazine&© or $ùjournal&© concerned with culture. Each student will write one main article which will be negotiated with the publishing group plus smaller mini articles such as music reviews etc. Successful completion of the module will enable you to gain sophisticated skills in the analysis of writings on art and/or culture and cultural issues. It will also allow you to gain confidence in your own abilities to plan and complete similar work in the context of the demands of journal production.
The group will negotiate a 'house style' and design, using both text and image with Adobe Photoshop and Quarkxpress software to produce both a print version of their journal and an electronic version. This module incorporates employability skills which are highly desirable within media industries.
|
|
~
|
MDS-30012 |
Creative Magazine Production |
EP |
C
|
7.5 |
15 |
|
|
This module will provide you with the experience of working in a planning and production team in the layout of an envisaged $ùmagazine&© or $ùjournal&© concerned with culture. Each student will write one main article which will be negotiated with the publishing group plus smaller mini articles such as music reviews etc. Successful completion of the module will enable you to gain sophisticated skills in the analysis of writings on art and/or culture and cultural issues. It will also allow you to gain confidence in your own abilities to plan and complete similar work in the context of the demands of journal production.
The group will negotiate a 'house style' and design, using both text and image with Adobe Photoshop and Quarkxpress software to produce both a print version of their journal and an electronic version. This module incorporates employability skills which are highly desirable within media industries.
|
|
|
MDS-30016 |
Seoul Summer School - South Korean Film (Level 3) |
EP |
C
|
7.5 |
15 |
|
|
This module enables students to spend 4 weeks in the summer (end June to end
July) at a partner university in Seoul, attending a course in Korean Film Theory and Filmmaking. It will take place at Dongguk University in South Korea.
Attending the Summer School is an excellent way to explore the multifaceted Orient - in a metropolitan city where East meets West. Moreover, many interesting places around South Korea can be visited.
Attending a standard academic module in a four week condensed timeframe you will be studing 'Introduction to Korean Film and The Film Production Workshop'. This will combine time in the classroom, introducing you to the theories of Korean Film interspersed with a filmmaking practicum.Your study will be guided by field and University instructors. You will undertake three assessments - (two in Seoul and one on your return to the UK).
There are additional costs associated with undertaking this module that must be borne by students, namely return flight to Seoul, Insurance, accommodation and living costs for the four-weeks; however, Keele and Dongguk University work together to organise student accommodation in halls nears the Dongguk campus so that students do not have to do this independently.
|
|
|
MDS-30016 |
Seoul Summer School - South Korean Film (Level 3) |
O |
C
|
7.5 |
15 |
|
|
This module enables students to spend 4 weeks in the summer (end June to end
July) at a partner university in Seoul, attending a course in Korean Film Theory and Filmmaking. It will take place at Dongguk University in South Korea.
Attending the Summer School is an excellent way to explore the multifaceted Orient - in a metropolitan city where East meets West. Moreover, many interesting places around South Korea can be visited.
Attending a standard academic module in a four week condensed timeframe you will be studing 'Introduction to Korean Film and The Film Production Workshop'. This will combine time in the classroom, introducing you to the theories of Korean Film interspersed with a filmmaking practicum.Your study will be guided by field and University instructors. You will undertake three assessments - (two in Seoul and one on your return to the UK).
There are additional costs associated with undertaking this module that must be borne by students, namely return flight to Seoul, Insurance, accommodation and living costs for the four-weeks; however, Keele and Dongguk University work together to organise student accommodation in halls nears the Dongguk campus so that students do not have to do this independently.
|
|
|
SOC-30025 |
Streets, Skyscrapers, and Slums: The City in Social, Cultural, and Historical Context |
EA |
C
|
7.5 |
15 |
|
|
In this module we trace the cultural politics of the city from Ancient Athens to contemporary mega-cities, such as Los Angeles, Tokyo, and Lagos. Following the introductory lecture, which examines the meaning of the original cities of the ancient world, the first part of the module, modern cities, offers a consideration of the late 19th century / early 20th century European metropolises.
After an exploration of the ideas of metropolitan psychology, fashion, and the department store in the works of Georg Simmel and Walter Benjamin, we move on to think about the city in the late 20th century. Here we think about the situationist city, the spectacular city, and the surveillance city and consider the ideas of Guy Debord, Henri Lefebvre, and Michel Foucault.
In the second part of the module, post-modern cities, we study the American mega-city. For writers such as Fredric Jameson, Jean Baudrillard, and Mike Davis cities such as Los Angeles and Las Vegas are strange surreal places. In this section of the course we explore the post-modern city through the ideas of simulation, informationalism, urban violence, the ghetto, and the obsession with security.
After our exploration of the post-modern city, the final section of the module examines contemporary third world mega-cities. We begin with a consideration of Mike Davis&©s recent study of the third world slum and then move on to think about the ideas of pollution and danger in mega-cities.
Other topics in this section of the course include the situation of the occultism in the African city, corruption and crime in South Africa, and the mythology of the werewolf in one of Africa&©s most populous cities, Lagos.
The aim of the module is to explore the cultural politics of the city in history.
|
|
|
SOC-30025 |
Streets, Skyscrapers, and Slums: The City in Social, Cultural, and Historical Context |
O |
C
|
7.5 |
15 |
|
|
In this module we trace the cultural politics of the city from Ancient Athens to contemporary mega-cities, such as Los Angeles, Tokyo, and Lagos. Following the introductory lecture, which examines the meaning of the original cities of the ancient world, the first part of the module, modern cities, offers a consideration of the late 19th century / early 20th century European metropolises.
After an exploration of the ideas of metropolitan psychology, fashion, and the department store in the works of Georg Simmel and Walter Benjamin, we move on to think about the city in the late 20th century. Here we think about the situationist city, the spectacular city, and the surveillance city and consider the ideas of Guy Debord, Henri Lefebvre, and Michel Foucault.
In the second part of the module, post-modern cities, we study the American mega-city. For writers such as Fredric Jameson, Jean Baudrillard, and Mike Davis cities such as Los Angeles and Las Vegas are strange surreal places. In this section of the course we explore the post-modern city through the ideas of simulation, informationalism, urban violence, the ghetto, and the obsession with security.
After our exploration of the post-modern city, the final section of the module examines contemporary third world mega-cities. We begin with a consideration of Mike Davis&©s recent study of the third world slum and then move on to think about the ideas of pollution and danger in mega-cities.
Other topics in this section of the course include the situation of the occultism in the African city, corruption and crime in South Africa, and the mythology of the werewolf in one of Africa&©s most populous cities, Lagos.
The aim of the module is to explore the cultural politics of the city in history.
|
|
|
SOC-30031 |
The Virtual Revolution: New Technologies, Culture and Society |
O |
C
|
7.5 |
15 |
|
|
The use of New Information and Communication Technologies (NICTs) now dominates social and cultural practices in many parts of the world and has perhaps forever altered the ways in which we talk to each other, do business, and spend our leisure time. Considering both theories of the information society and technological developments in media, communications and computing since the industrial revolution, this module charts the rise of NICTs such as the Internet, digital media and mobile networks, and asks how they may have reshaped our lives.
We will think about this changing technological landscape by examining a number of everyday practices; for example the use of social networking sites to keep in touch and locate identity, how online shopping may have altered consumption habits, and the emergence of the blogosphere and citizen journalism as an alternative to mainstream media production. Implicit in our discussions is the idea that new technologies have strengthened the democratisation of public sphere debate by giving people access to information, versus the understanding that many remain on the fringes of the digital revolution.
The course will finally consider the suggestion that our demand for better, faster and safer communication technologies coupled with our most intimate details now being processed digitally, means that we have opened ourselves to almost constant surveillance. Against this we will reflect on activities that seek to negotiate and resist the virtual terrain.
|
|
|
SOC-30031 |
The Virtual Revolution: New Technologies, Culture and Society |
EA |
C
|
7.5 |
15 |
|
|
The use of New Information and Communication Technologies (NICTs) now dominates social and cultural practices in many parts of the world and has perhaps forever altered the ways in which we talk to each other, do business, and spend our leisure time. Considering both theories of the information society and technological developments in media, communications and computing since the industrial revolution, this module charts the rise of NICTs such as the Internet, digital media and mobile networks, and asks how they may have reshaped our lives.
We will think about this changing technological landscape by examining a number of everyday practices; for example the use of social networking sites to keep in touch and locate identity, how online shopping may have altered consumption habits, and the emergence of the blogosphere and citizen journalism as an alternative to mainstream media production. Implicit in our discussions is the idea that new technologies have strengthened the democratisation of public sphere debate by giving people access to information, versus the understanding that many remain on the fringes of the digital revolution.
The course will finally consider the suggestion that our demand for better, faster and safer communication technologies coupled with our most intimate details now being processed digitally, means that we have opened ourselves to almost constant surveillance. Against this we will reflect on activities that seek to negotiate and resist the virtual terrain.
|
|
|
SOC-30032 |
Home: belonging, locality and material culture |
EA |
C
|
7.5 |
15 |
|
|
This module will critically explore the idea of home as a socio-cultural concept. Using an interdisciplinary approach, broadly located in sociology, but appealing to students interested in geography, english, marketing, psychology and media/cultural studies, it asks a number of difficult but fascinating questions about why we are all so obsessed with home cultures.
Why are we obsessed with the homes of celebrities? What dreams are we pursuing when we seek to nosy around their wine cellars and their marble bathtubs? Is this dream telling us something about our own narratives of belonging, or do we realise we will never achieve what they have? And how can we understand this obsession with homes in a social context: have we always been like this, or is this only since home buying became a central part of the British economy?
What is the significance of stuff? We're surrounded by it, but it is often mute and difficult to understand. We will be exploring the relationship of people to their things - displaying, collecting, disposing: the objects that make up home have enormous social, personal, cultural and psychological significance which needs unravelling.
Is it true that the only good music and art comes from 'running away from home'? From the Modernist avant garde, to punk, to Hirst and Emin, to grime - it seems that inspiration comes not from the stifling normality of homely life, but from city streets. Home spaces are often seen as the evil 'other' of creativity, yet they are as much a part of the modern city as shiny glass buildings and exciting public spaces.
What does the idea of home do to obscure the real social relations that go on behind closed doors? In what ways does the concept of the 'domestic' shelter us from the gritty reality of home life? And how is this ideology promoted and defended? The dark, uncanny side of home will be explored and themes from sociology, geography and cultural studies blended to examine how home is a key motif in notions of evil.
|
|
|
SOC-30032 |
Home: belonging, locality and material culture |
O |
C
|
7.5 |
15 |
|
|
This module will critically explore the idea of home as a socio-cultural concept. Using an interdisciplinary approach, broadly located in sociology, but appealing to students interested in geography, english, marketing, psychology and media/cultural studies, it asks a number of difficult but fascinating questions about why we are all so obsessed with home cultures.
Why are we obsessed with the homes of celebrities? What dreams are we pursuing when we seek to nosy around their wine cellars and their marble bathtubs? Is this dream telling us something about our own narratives of belonging, or do we realise we will never achieve what they have? And how can we understand this obsession with homes in a social context: have we always been like this, or is this only since home buying became a central part of the British economy?
What is the significance of stuff? We're surrounded by it, but it is often mute and difficult to understand. We will be exploring the relationship of people to their things - displaying, collecting, disposing: the objects that make up home have enormous social, personal, cultural and psychological significance which needs unravelling.
Is it true that the only good music and art comes from 'running away from home'? From the Modernist avant garde, to punk, to Hirst and Emin, to grime - it seems that inspiration comes not from the stifling normality of homely life, but from city streets. Home spaces are often seen as the evil 'other' of creativity, yet they are as much a part of the modern city as shiny glass buildings and exciting public spaces.
What does the idea of home do to obscure the real social relations that go on behind closed doors? In what ways does the concept of the 'domestic' shelter us from the gritty reality of home life? And how is this ideology promoted and defended? The dark, uncanny side of home will be explored and themes from sociology, geography and cultural studies blended to examine how home is a key motif in notions of evil.
|
| Semester 1-2 |
C/O |
TYP |
ECTS | CATS |
|
|
FIL-30002 |
Dissertation in Film Studies |
EA |
C
|
15 |
30 |
|
|
The dissertation module produces a substantial piece of work that engages the student in independent and original work in one of the many fields of Film Studies. The project will be based on a topic agreed between the student and the supervisor. It will draw on the interests of the student as developed during the three years of the Film Studies degree programme and will benefit from the research expertise of relevant supervisors in the Schools of Humanities and Sociology. The successful completion of the dissertation will represent a substantial piece of final year undergraduate work that will be a crucial part of the process that will enable the student to go on either to do further advanced academic research at masters level or to pursue a career in a relevant area of the media and culture industries. |
|
|
MDS-30011 |
Dissertation in Media, Communications and Culture - ISP |
O |
C
|
15 |
30 |
|
|
The dissertation module offers the opportunity for students to produce a substantial piece of work that engages in independent and original study in one of the many fields of Media and Cultural Studies. The dissertation project will be based on a topic agreed between the student and the supervisor. It will draw on the interests of the student as developed during the three years of the Media, Communications and Culture degree programme and will benefit from the research expertise of relevant supervisors in the Schools of Humanities and Social Sciences. The successful completion of the dissertation will represent a substantial piece of final year undergraduate work that will enable the student to go on either to do further advanced academic research at masters level, or to pursue a career in a relevant area of the media and culture industries. |
|
|
MDS-30011 |
Dissertation in Media, Communications and Culture - ISP |
EP |
C
|
15 |
30 |
|
|
The dissertation module offers the opportunity for students to produce a substantial piece of work that engages in independent and original study in one of the many fields of Media and Cultural Studies. The dissertation project will be based on a topic agreed between the student and the supervisor. It will draw on the interests of the student as developed during the three years of the Media, Communications and Culture degree programme and will benefit from the research expertise of relevant supervisors in the Schools of Humanities and Social Sciences. The successful completion of the dissertation will represent a substantial piece of final year undergraduate work that will enable the student to go on either to do further advanced academic research at masters level, or to pursue a career in a relevant area of the media and culture industries. |
|
~
|
MDS-30013 |
Sustained Media Practice - ISP |
O |
C
|
15 |
30 |
|
|
Sustained Media Practice is an independent study programme intended to enable you to develop, synthesise and enhance the range of aptitudes, abilities and theoretical frameworks learned within all the modules previously undertaken in Media, Communications &Culture. Although the module leader will offer you assistance, as well as monitor and review your progress over the two semesters, the initiation, development, and completion of the project will be your own responsibility.
The Media Project is an important part of the Media, Communications and Culture degree because it is intended to enable students to show how they can orchestrate, creatively and systematically, both the theoretical and practical aspects of their work within a major independent project. This independent project will accumulate into an exhibition of student work. The projects are always varied and you can choose to develop any area of Media Communications and Culture which interests you. Previous projects have been narrative films, documentaries, photographic projects, installations and performance pieces.
|
|
~
|
MDS-30013 |
Sustained Media Practice - ISP |
EP |
C
|
15 |
30 |
|
|
Sustained Media Practice is an independent study programme intended to enable you to develop, synthesise and enhance the range of aptitudes, abilities and theoretical frameworks learned within all the modules previously undertaken in Media, Communications &Culture. Although the module leader will offer you assistance, as well as monitor and review your progress over the two semesters, the initiation, development, and completion of the project will be your own responsibility.
The Media Project is an important part of the Media, Communications and Culture degree because it is intended to enable students to show how they can orchestrate, creatively and systematically, both the theoretical and practical aspects of their work within a major independent project. This independent project will accumulate into an exhibition of student work. The projects are always varied and you can choose to develop any area of Media Communications and Culture which interests you. Previous projects have been narrative films, documentaries, photographic projects, installations and performance pieces.
|
| Semester 2 |
C/O |
TYP |
ECTS | CATS |
|
|
ENG-30053 |
Postmodernism: Fiction, Film and Theory |
O |
C
|
7.5 |
15 |
|
|
Postmodernism represents an important body of critical theory that developed in the second half of the twentieth century, and continues to have relevance in the twenty-first. It crosses a range of disciplines, but emphasizes an interrogative, reflexive and eclectic challenge to many philosophical and aesthetic values and practices. On this module, you will explore the relevance and meaning of some of the ideas associated with postmodernism with respect to selected novels and films. You will assess the influence of key ideas on writers and directors and you will study the main themes and techniques used in postmodern fiction and film. The module also encourages a critically-informed assessment of the implications of postmodern thinking for contemporary notions of history, identity, sexuality, politics and consumer society. Fiction and film likely to be studied on the module include Julian Barnes, A History of the World in 10½ Chapters; Jeanette Winterson, Oranges Are Not The Only Fruit; Martin Amis, Money; J. G. Ballard, Kingdom Come; The Hours (dir. Stephen Daldry); The Company of Wolves (dir. Neil Jordan); The Matrix (dir. Andy Wachowski and Larry Wachowski); and Mulholland Drive (dir. David Lynch).
|
|
|
ENG-30053 |
Postmodernism: Fiction, Film and Theory |
EA |
C
|
7.5 |
15 |
|
|
Postmodernism represents an important body of critical theory that developed in the second half of the twentieth century, and continues to have relevance in the twenty-first. It crosses a range of disciplines, but emphasizes an interrogative, reflexive and eclectic challenge to many philosophical and aesthetic values and practices. On this module, you will explore the relevance and meaning of some of the ideas associated with postmodernism with respect to selected novels and films. You will assess the influence of key ideas on writers and directors and you will study the main themes and techniques used in postmodern fiction and film. The module also encourages a critically-informed assessment of the implications of postmodern thinking for contemporary notions of history, identity, sexuality, politics and consumer society. Fiction and film likely to be studied on the module include Julian Barnes, A History of the World in 10½ Chapters; Jeanette Winterson, Oranges Are Not The Only Fruit; Martin Amis, Money; J. G. Ballard, Kingdom Come; The Hours (dir. Stephen Daldry); The Company of Wolves (dir. Neil Jordan); The Matrix (dir. Andy Wachowski and Larry Wachowski); and Mulholland Drive (dir. David Lynch).
|
|
|
FIL-30004 |
British Women Directors |
O |
M
|
7.5 |
15 |
|
|
This module will introduce students to some of the key works in the recent history of British Cinema and to investigate major theories around gender, particularly in the areas of creativity and representation.
Topics central to this module include gender, sexuality, the history of British cinema, and the ways in which film reflects developments and debates in contemporary society.
Directors and films studied on this module will include some of the following: Sally Potter ('The Gold Diggers', 'Orlando'), Gurinder Chadha ('Bhaji on the Beach', 'Bend It Like Beckham'). Lynne Ramsay ('Ratcatcher', 'Morvern Callar', 'We Need to Talk about Kevin') and Andrea Arnold ('Red Road', 'Fish Tank' and 'Wuthering Heights').
The module will study the films as cinematic works, and will include detailed textual analysis. It will also consider roles of women in society and cinema, as well as the impact of gender and gender theories on creativity and representation. |
|
|
FIL-30004 |
British Women Directors |
EA |
M
|
7.5 |
15 |
|
|
This module will introduce students to some of the key works in the recent history of British Cinema and to investigate major theories around gender, particularly in the areas of creativity and representation.
Topics central to this module include gender, sexuality, the history of British cinema, and the ways in which film reflects developments and debates in contemporary society.
Directors and films studied on this module will include some of the following: Sally Potter ('The Gold Diggers', 'Orlando'), Gurinder Chadha ('Bhaji on the Beach', 'Bend It Like Beckham'). Lynne Ramsay ('Ratcatcher', 'Morvern Callar', 'We Need to Talk about Kevin') and Andrea Arnold ('Red Road', 'Fish Tank' and 'Wuthering Heights').
The module will study the films as cinematic works, and will include detailed textual analysis. It will also consider roles of women in society and cinema, as well as the impact of gender and gender theories on creativity and representation. |
|
|
FIL-30006 |
Representing the Self, Family and Society on Contemporary British and American Television |
O |
C
|
7.5 |
15 |
|
|
Television Studies interlinks with important areas of media, communication and cultural analysis, and aspects of film and screen studies. Focusing in particular upon contemporary British and American televisual texts, this module keys out the significance of televisual representation in the twenty-first century, focusing theoretically on key television studies theorists such as Jonathan Bignell, John Corner, Glen Creeber, and Trisha Dunleavy. Linking televisual representation to theories of culture, popularity, reception, generic categorisation and desire, you will explore the meanings encoded in TV texts not only via a study of aesthetics, but also through the study of televisual 'grammar'. Thematic areas of interest such as representations of self, the family and society, class, sex, the postmodern condition, and women are to be interrogated via close analysis of specific texts which may include: 'The Royle Family', 'Dexter', 'Gavin and Stacey', 'The Wire', 'Shameless', 'The Killing', 'Dollhouse', 'The Simpsons' and 'The Sopranos'.
Begin reading around the topic by dipping into Casey, ed., Television Studies: The Key Concepts (Routledge, 2008) and Jonathan Bignell's An Introduction to Television Studies, 2nd edn (Routledge, 2007). |
|
|
FIL-30006 |
Representing the Self, Family and Society on Contemporary British and American Television |
EA |
C
|
7.5 |
15 |
|
|
Television Studies interlinks with important areas of media, communication and cultural analysis, and aspects of film and screen studies. Focusing in particular upon contemporary British and American televisual texts, this module keys out the significance of televisual representation in the twenty-first century, focusing theoretically on key television studies theorists such as Jonathan Bignell, John Corner, Glen Creeber, and Trisha Dunleavy. Linking televisual representation to theories of culture, popularity, reception, generic categorisation and desire, you will explore the meanings encoded in TV texts not only via a study of aesthetics, but also through the study of televisual 'grammar'. Thematic areas of interest such as representations of self, the family and society, class, sex, the postmodern condition, and women are to be interrogated via close analysis of specific texts which may include: 'The Royle Family', 'Dexter', 'Gavin and Stacey', 'The Wire', 'Shameless', 'The Killing', 'Dollhouse', 'The Simpsons' and 'The Sopranos'.
Begin reading around the topic by dipping into Casey, ed., Television Studies: The Key Concepts (Routledge, 2008) and Jonathan Bignell's An Introduction to Television Studies, 2nd edn (Routledge, 2007). |
|
|
MDS-30017 |
Visual Pleasures: From Carnival to Disney |
EP |
C
|
7.5 |
15 |
|
|
The media and our notions of leisure are inextricably connected, and our leisure time and activities, the leisure industries and our various leisure landscapes are expressions of the relationships we have with the media. This module uses these notions, experiences and articulations of leisure to take a critical look at the media.
-How does Disney act as an example of the political economy of the media?
-What part did the media play in ‘constructing’ the seaside to be part of our collective identity and popular culture?
-How has the media redefined sport, and particularly football, in recent times?
We interrogate how the media have shaped our ideas and our experiences of leisure through various forms and practices, spaces and places; through processes such as rationalization, commercialization and globalization, that are rooted in the material social, political and economic contexts.
We consider various critical perspectives of the media and locate them through a look at a range of particular historic and contemporary examples and contexts of leisure, such as the carnival, the seaside, shopping, theme parks, football, tourist destinations, gaming, the internet and social media.
Visual representations of the forms and expressions of our leisure help to construct the ways we perceive ourselves and our cultural identity. This module will consider, in particular, how these visual representations operate, through forms of ‘still’ and moving image. Examples will be drawn from the leisure and tourism industries, through press and PR, advertising, photojournalism as well as through specialist practitioners and non-professional practices.
Looking at specific examples and locations will help students to see how particular representations and ethnographies may be used to assist in an understanding of our relationship with the media and our leisure. Examples will be drawn from local as well as national and international contexts in order to enable students to experience at first hand, as a basis for their own assessed work as well as to foster an exploration of the relationship between the local and the global and what we ‘do’ and how we think.
|
|
|
MDS-30017 |
Visual Pleasures: From Carnival to Disney |
O |
C
|
7.5 |
15 |
|
|
The media and our notions of leisure are inextricably connected, and our leisure time and activities, the leisure industries and our various leisure landscapes are expressions of the relationships we have with the media. This module uses these notions, experiences and articulations of leisure to take a critical look at the media.
-How does Disney act as an example of the political economy of the media?
-What part did the media play in ‘constructing’ the seaside to be part of our collective identity and popular culture?
-How has the media redefined sport, and particularly football, in recent times?
We interrogate how the media have shaped our ideas and our experiences of leisure through various forms and practices, spaces and places; through processes such as rationalization, commercialization and globalization, that are rooted in the material social, political and economic contexts.
We consider various critical perspectives of the media and locate them through a look at a range of particular historic and contemporary examples and contexts of leisure, such as the carnival, the seaside, shopping, theme parks, football, tourist destinations, gaming, the internet and social media.
Visual representations of the forms and expressions of our leisure help to construct the ways we perceive ourselves and our cultural identity. This module will consider, in particular, how these visual representations operate, through forms of ‘still’ and moving image. Examples will be drawn from the leisure and tourism industries, through press and PR, advertising, photojournalism as well as through specialist practitioners and non-professional practices.
Looking at specific examples and locations will help students to see how particular representations and ethnographies may be used to assist in an understanding of our relationship with the media and our leisure. Examples will be drawn from local as well as national and international contexts in order to enable students to experience at first hand, as a basis for their own assessed work as well as to foster an exploration of the relationship between the local and the global and what we ‘do’ and how we think.
|
Media, Communications and Culture Minor - Level 1 Modules
| Semester 1 |
C/O |
TYP |
ECTS | CATS |
|
|
FIL-10001 |
Reading Film |
EA |
C
|
7.5 |
15 |
|
|
Of all forms of communication, film often seems the most obvious, pleasurable and self-explanatory. With an emphasis on variety of film practice, this module aims to introduce students to the essential elements of film narrative and engage them in thinking critically about the choices made by film-makers in constructing the look and sound of their films. We will be asking, therefore, how meaning is created in the cinema, as well as what ideas and arguments such meanings may generate among critically aware spectators of it. In doing so we will be exploring the richness and complexity of cinema's potential to communicate with its spectators through a carefully selected variety of films. Represented amongst these will not only be the classic Hollywood model with which we are all most familiar, but also films from other national and artistic traditions. These will be examined in the context of both fortnightly lecture/workshops and weekly small group classes. |
|
|
FIL-10003 |
Popular British Cinema: From the 90s to the present day |
EA |
C
|
7.5 |
15 |
|
|
Of all forms of communication, film often seems the most obvious, pleasurable and self-explanatory. With an emphasis on popular British cinema from the 1990s to the present day, this level 1 module aims to introduce students to the dominant thematic and aesthetic issues/representations addressed in a selected number of contemporary British films. Alongside this, we will also analyse how filmic aesthetics intersect with themes such as identity, race, social class, nationality and gender. |
|
|
MDS-10008 |
Mediated World |
C |
M
|
7.5 |
15 |
|
|
Mediated World aims to introduce students to some of the main theories and debates found in contemporary media, communication and cultural studies. In this course we examine how the mass media has come to dominate our everyday life $ú from the spaces we inhabit, to the beliefs we hold and values we share $ú while analyzing our individual and collective role in this complex relationship. By looking at how and why the tools developed by societies $ú from the first printing press to today&©s high speed internet $ú have been used for mass communication, we will probe how power is constructed in media messages and ask whether the consumers of such messages can ever wrest back control over meaning.
Recommended reading: Branston G & Stafford, R (2010) The Media Student's Book, Routledge
Deveroux, E (2007) Media Studies: Key issues and debates. Sage
Deveroux, E (2007) Understanding the Media. Sage |
|
|
MDS-10009 |
Digital Video |
EP |
C
|
7.5 |
15 |
|
|
This module focuses on the creation of a short film. You will learn the fundamentals of video production, including the techniques and the aesthetics of screen writing, shooting, composition and editing. Most importantly you will learn by doing. This is a hands on course that encourages you to familiarise yourself with digital video equipment, consider the work of other film and documentary makers, experiment with and develop your own filmmaking style and begin acquiring a knowledge of film language and terminology.
The key areas of focus are:
- Film language and terminology (critical analysis of films and conventions)
- Pre-production (scriptwriting, storyboarding, schedules and planning)
- Production (camera operation, directing)
- Post-production (editing)
Assessment will be by a group project, 3-5 minute short film (50%) and a workbook (50%). |
|
|
PIR-10048 |
Mass Media in America: If it Bleeds, It Leads |
EA |
M
|
7.5 |
15 |
|
|
This module explores the different types of media in the United States, focusing on newspapers, TV, radio and the internet. Students will learn to analyse the structure and content of these media.
How does America differ from Britain? For a start, most people read local papers. Similarly, most people watch local, not national, news. Does local versus national matter?
One difference is a heavy emphasis upon crime and violence, prompting the saying "if it bleeds, it leads." Interestingly, while there is lots of violence, Americans are much more prudish about sex.
This course encourages you to analyse the form and content of the media to understand why it looks the way it does. The issues raised in the course will give you better insight into British, as well as American, media |
| Semester 2 |
C/O |
TYP |
ECTS | CATS |
|
|
FIL-10002 |
Approaches to Film |
EA |
C
|
7.5 |
15 |
|
|
Who is the author of a film? How do we categorize and make sense of films in relation to each other? How is the meaning of a film shaped by the historical period or national culture that produced it? What sorts of ideas and ideologies about gender and race do films include or exclude? This module provides an introduction to all these questions addressed within film theory. Like any other discipline of enquiry, Film Studies has generated a set of debates about value and meaning that revolve around some key questions, concepts and terms. Through a series of fortnightly two hour workshop lectures and weekly small group classes, this module will examine the development of critical thinking on the cinema and will invite students to debate, question and apply ideas on: film authorship; film genre; history; film politics. Each of these critical areas will be investigated with reference to an exciting range of films, chosen for the way they have shaped film history and challenged cinema's potential as a form of art and entertainment. Indicative study texts may include: 'The Rocky Horror Picture Show' (Dir. Sharman, 1975), 'Modern Times' (Dir. Chaplin, 1936) and 'Breathless' (Dir. Godard, 1960).
|
|
|
FIL-10004 |
Introduction to European Cinema |
EP |
M
|
7.5 |
15 |
|
|
From the end of the Second World War until the 1970s, European Cinema enjoyed a Golden Age which saw directors across Europe produce many of the Classics of World Cinema. From Great Britain to France, Germany, Italy, Sweden and beyond, many countries reached the height of productivity and artistry in their national cinemas, with 'new waves' in most countries, especially in the key period from the end of the fifties to the end of the sixties. This module seeks to introduce students to some of the great works of world cinema produced in these countries in these decades. Directors central to this module will include some of the 'greats' of world cinema - Fellini, Bertolucci and Antonioni from Italy, Godard and Truffaut from France, Fassbinder, Herzog and Wenders from Germany, as well as Ingmar Bergman, and key representatives from the British New Wave.
The module will not presume any knowledge of the cinematic history of a given country, but will seek to introduce students to currents, trends and techniques which cut across national boundaries, as well as to the specifics of national cinemas, and the uniqueness of the work of particular auteurs. |
|
|
MDS-10010 |
Understanding Culture |
EP |
M
|
7.5 |
15 |
|
|
What is culture? Where is it and who particpates in it? How has our understanding of it developed historically? What's the difference between high and low culture? How does literature, film, photography and advertising encourage us to behave in particular ways? This course will introduce some of the key concepts and issues in the historical and contemporary study of culture. It will introduce theories, approaches and methodologies for the study of a range of cultural $ùtexts&© from Shakespeare to magazine advertisements. We will start by looking at literary culture from the past and focus on the relationship between $ùclassic&© literary texts and their audiences, both now and when they were first produced. We will go on to look at popular contemporary culture in both visual and written form, including film, photographs and advertisements. |
|
|
MDS-10011 |
The Photographic Message |
C |
C
|
7.5 |
15 |
|
|
The Photographic Message
In this module students will look at the impact of photography as a mode of mechanical reproduction through to contemporary hyper real digital image production. Students will be introduced to semiotic analysis and study the work and roll of photographic practioners in both a contemporary and historical context. Each student will produce a photomontage and workbook based on notions of cultural identity and/or stigma and discrimination.
Assessment will be by a visual project photomontage (50%), a workbook (50%), and a compulsory oral presentation.
Reading List
Wells L (ed) 2009 Photography: a critical introduction Routledge
Clarke G 1997 The Photograph Oxford University Press
Sturken M, Cartwright L (2001) Practices of Looking an introduction to visual culture Oxford University Press
Sontag S 2002 On Photography Harmondsworth: Penguin
Berger J 1972 Ways of Seeing Harmondsworth: Penguin |
|
|
SOC-10013 |
Modernity and its Darkside |
EA |
C
|
7.5 |
15 |
|
|
The idea of the modern individual and society is tied to wider social and political understandings about the world that we live in. As our understandings of the world change, so do ideas of who we are and what our place in the world is. In this module we examine some of the key themes and concepts associated with the $ùmodern&© individual and the wider context within which some are labelled as modern and others traditional. Key themes include a study of the enlightenment period, the birth of commercial society, modern state and the idea of citizenship. We then turn to look at the dark side of modernity - what is classed as abnormal, supernatural and irrational and societies attempt to control the pathological and paranoid desires of its members.
Who is the modern individual?
Can a group of individuals, composed of different ideas and beliefs, avoid conflict and rule
themselves?
What is classed as abnormal, supernatural and irrational by society and what attempts does
society make to control this?
Have the ideas developed in modernity been used to destroy rather than develop society?
The lectures will focus on
Modernity and Individualism
The Enlightenment Individual
The Political Individual
The Economic Individual
The Sociological Individual
The Irrational Self
The Consumer
The Holocaust and the Irrational Individual
Normalisation and Contemporary Individualism
The Post Modern Individual
Formative Assessment and Tutorial Activities
Students each week, with guidance from the group tutor, will write a creative paragraph outlining the significant themes of the lecture/seminar, as they have undertood them. This will be added to each week with each lecture so that a narrative is reflexively constructed illustrating how the student has pieced together the course and what they have understood.
|
Media, Communications and Culture Minor - Level 2 Modules
| Semester 1 |
C/O |
TYP |
ECTS | CATS |
|
|
FIL-20001 |
Gender and the Cinematic Gaze |
EA |
M
|
7.5 |
15 |
|
|
This module will explore and evaluate the significance of gendered representation in film focusing specifically on theories of gendered spectatorship, voyeurism and the dis/pleasure of looking. Students will be introduced to a number of significant theorists such as Laura Mulvey, Judith Butler, Claire Johnston and Sue Thornham in order to gain an understanding of gender as a cultural and social construction (differentiated from $ùsex&©) and influenced by political movements such as feminism. Students will consider if, how and to what extent notions of gender are culturally determined. In addition, they will consider the complexities associated with representations of gender on-screen and study how filmic audiences have traditionally identified with specific gender positions leading to a consideration of notions of subjectivity and objectivity in film spectatorship. Via analysis of a range of filmic texts that may include 'Rear Window' (Hitchcock, 1954), 'Beauty and the Beast' (Trousdale and Wise, 1991), 'Fight Club' (Fincher, 1999) and 'Caramel' (Labaki, 2007), this module will explore the ways in which gender representations are negotiated in-line with other areas of identity politics such as sexuality, ethnicity, race and class.
Through theoretical and illustrative lectures and contextualised screenings, this module will allow students to explore the ways in which notions of self are linked to social and cultural representations of gender on-screen. Students will question gender identities on-screen as representations that may shape and organise the ways in which we see and find pleasure in seeing. |
|
|
FIL-20003 |
French Cinema |
EA |
C
|
7.5 |
15 |
|
|
Known as 'the seventh art', cinema in France occupies an important place in terms of practise, criticism and spectatorship in that country. This module looks at key moments within the history of French cinema, namely the Golden Age of the 1930s, the New Wave of the 1950s and 1960s, postmodern and postcolonial films of the 1980s and 1990s. and trends such as the de-eroticised erotic, blockbusters, and social realism of the 2000s. In so doing, it considers questions around genre, auteurship, stars, social contexts, cinematography, and narrative, as well as issues around class, gender, sexuality and national identity. |
|
|
FIL-20004 |
Politics and Cinema |
EA |
M
|
7.5 |
15 |
|
|
This module seeks to introduce students to some of the great works of world cinema and to investigate the major ideological tendencies of the twentieth-century and key moments in modern and contemporary politics as these have been reflected in film. Topics central to this module include revolution, totalitarianism, nationalism and terrorism. The scope is international and settings include North and South America, Europe, Africa and the Middle East. Films studied on the course are likely to include: Francis Ford Coppola's Apocalypse Now; Michael Moore's Fahrenheit 9/11; Eisenstein's Battleship Potemkin; Askoldov's Commissar; Mikhalkov's Burnt by the Sun; The Lives of Others; Ken Loach's The Wind that Shakes the Barley; Neil Jordan's Michael Collins; Pontecorvo's The Battle of Algiers; Kevin Macdonald's One Day in September; Spielberg's Munich.
The module will not presume any knowledge of film, but will nevertheless regard the films as cinematic works. The main focus will be on events, ideas and political developments, and how they are reflected cinematically. A general background knowledge of the twentieth century will be important although this module will not require deep specialist knowledge of any given country. |
|
|
MDS-20005 |
Media Comm and Culture - Study Abroad I |
EP |
C
|
7.5 |
15 |
|
|
This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
|
|
MDS-20006 |
Media Comm and Culture - Study Abroad II |
EP |
C
|
7.5 |
15 |
|
|
This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
|
~
|
MDS-20020 |
Making the News |
EP |
C
|
7.5 |
15 |
|
|
This module introduces a broad range of theoretical debates and issues involved in the making of contemporary news.
At the beginning of the module we study journalism and news values. In order to gain a balanced understanding of the news and its impact on society we will analyse its forms, motives, methods and conventions. The module pays particular attention to the political economy of news and the organisational constraints in producing news and the impact of this on content. We will study journalistic processes and practices in order to examine what and how news is constructed. We will consider a range of news media and the impact of technological change on news production.
There will be some opportunity to consider the issues raised through practical activities.
Over the course of this module there will be a variety of lectures, seminars and practical sessions.
Assessment is based on a essay at 50% plus a practical piece at 50% (news report + critical evaluation).
Reading:
Wahl-Jorensen K and Hanitzsch, T (2009) The Handbook of Journalism Studies. Routledge
Allan. S (2010) News Culture, OU
Allan, S (2009) Routledge Companion to News and Journalism. Routledge |
|
|
MDS-20023 |
Creating Awareness Campaigns |
C |
C
|
7.5 |
15 |
|
|
This module will give students experience of solving communications problems by producing documents and artefacts. Students will be required to work in production groups and will address tutor negotiated communications goals by making documents, which may include desk top published materials, photography and video. Students will examine contemporary media issues which may include advertising, journalism, press coverage, design and the impact of the world wide web. They will work with various modes of practice including industry standard software such as Adobe Photoshop, Quark Xpress and Final Cut Pro. The outcome of this module is one finished practical project per production group and an individual student workbook. Previous projects have been based on issues such as Domestic Violence, Binge Drinking, Student Protest and Student Debt. It is highly recommended that you have completed level one module The Photographic Message or Digital Video or that you have some experience of graphic design or video production.
|
|
|
MDS-20024 |
Teenage Dreams: Youth Subcultures in Fiction, Film and Theory |
EP |
M
|
7.5 |
15 |
|
|
The DJ John Peel has the words 'Teenage Dreams so hard to beat' carved on his gravestone, a line taken from The Undertones's classic punk song 'Teenage Kicks'. Peel's love of the music, style, attitude and outlook of youth subcultures encapsulates a general and ongoing fascination for writers, filmmakers and critics alike. On this module we will examine a range of theories related to the concept of subcultures, and how they relate to wider issues of class, gender, sexuality and ethnicity. We will look at the development of subcultural theory from the Chicago School, the Birmingham School and semiotics through to postmodern theories. This theoretical context will be discussed with respect to a range of textual representations of youth subcultures including fiction, film, fashion, pop songs and lyrics. We will explore issues related to the identification and historical development of a range of youth subcultures including teenagers, Mods, Rockers, punk, hip hop, R'n'B, and postmodern. We will also analyze the way in which subcultures produce meaning and how they relate to concerns in mainstream culture. Texts studied on the module might include Colin MacInnes's Absolute Beginners, The Who's Quadrophenia (album and film), Julien Temple's The Filfth and the Fury, Courttia Newland's Society Within and Irvine Welsh/Danny Boyle's Trainspotting. |
|
|
MDS-20028 |
Seoul Summer School - South Korean Film |
EP |
C
|
7.5 |
15 |
|
|
This module enables students to spend 4 weeks in the summer (end June to end
July) at a partner university in Seoul, attending a course in Korean Film Theory and Filmmaking. It will take place at Dongguk University in South Korea.
Attending the Summer School is an excellent way to explore the multifaceted Orient - in a metropolitan city where East meets West. Moreover, many interesting places around South Korea can be visited.
Attending a standard academic module in a four week condensed timeframe you will be studing 'Introduction to Korean Film and The Film Production Workshop'. This will combine time in the classroom, introducing you to the theories of Korean Film interspersed with a filmmaking practicum.Your study will be guided by field and University instructors. You will undertake three assessments - (two in Seoul and one on your return to the UK).
There are additional costs associated with undertaking this module that must be borne by students, namely return flight to Seoul, insurance, accommodation and living costs for the four-weeks; however, Keele and Dongguk University work together to organise student accommodation in halls nears the Dongguk campus so that students do not have to do this independently.
|
| Semester 2 |
C/O |
TYP |
ECTS | CATS |
|
|
ENG-20036 |
Twentieth Century Novels into Films |
EA |
C
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7.5 |
15 |
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Film has always had a close relationship to the novel through both literary adaptation and novelists who have also been screenplay writers. It has, nonetheless, frequently been framed as the poor relation of the two in terms of cultural value. By examining the distinctiveness and complexity of film language and the relative parameters of literary and film modes of narration, this module will examine some of the key but distinctive questions that need to be addressed when thinking about how film and literature make meaning. The module is specifically focused on the construction of history within narrative and will investigate how the categories of personal and collective memory, political conflict, change, national identity and gender are articulated in three novels and their film adaptations. |
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FIL-20002 |
Film Genre, Narrative and the Star |
EA |
M
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7.5 |
15 |
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This module will explore the significance of generic categorisation, narrative order and the position of the Hollywood star in association with filmic constructions of identity and dis/pleasure. Generic classification will be studied in order to consider not only the purpose of such categorisations in terms of spectator expectations but further, to situate cinematic and filmic texts as part of a predicated economy. In terms of film narrative, this module will explore the cause-and-effect relationship associated with mainstream Hollywood film, distinctions between story and plot and the significance of cinematic codes in order to shape preferred meanings for filmic audiences. The module will also analyse the significance of the contemporary filmic star in terms of their positioning as both subjects and objects of desire. As such, the module will address pertinent questions such as: what is the relationship between performance and stardom and moreover, why are we as filmic spectators, so interested in film stars?
The purpose of this module is to convey to students the significance of these areas individually and collectively to the discipline of Film Studies as well as to encourage students to recognise the different theoretical approaches to genre, narrative and star studies by leading academics. Specific texts will be studied in order to explicate the differing modes and ways in which these three pertinent areas help to shape meaning in film and to consider how these areas relate to spectator gratification and pleasure. Through theoretical and illustrative lectures and contextualised screenings, this module will allow students to explore the ways in which certain genres, narrative structures and film stars operate. Indicative study texts may include 'The Battle of Orgreave' (Figgis, 2001), 'Gladiator' (Scott, 2000) and 'Memento' (Nolan, 2000). |
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FIL-20005 |
Science Fiction Cinema: Utopias and Dystopias |
EA |
M
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7.5 |
15 |
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This module aims to provide a critical introduction to many of the key theoretical ideas and historical contexts informing the development of science fiction cinema. Focusing on a number of significant films from the history of cinema, the module will look to define what constitutes science fiction as a film genre. In particular, we will consider science fiction cinema's function as a mode for exploring ideas and hypotheses, both about the future and - by reflection - about our present. We will also engage with debates about the status of science-fiction cinema ('sci-fi') in relation to science-fiction literature ('SF'), analysing their differences, and looking at the particular relationships viewers and readers have to science-fictional texts. |
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MDS-20007 |
Media Comm and Culture - Study Abroad III |
EP |
C
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7.5 |
15 |
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This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
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MDS-20008 |
Media Comm and Culture - Study Abroad IV |
EP |
C
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7.5 |
15 |
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This is a module that is automatically allocated to the records our Keele level II students who are going to Study Abroad at a partner University for a semester of their second year and cannot be selected by any other level II students. |
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MDS-20018 |
Thinking Photography |
EP |
C
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7.5 |
15 |
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Thinking Photography is an elective module for second year students and will be of particular interest to those studying Media, Culture and Communications. The module places an emphasis on both photographic theory and practice. We will look at how ideas about photography have evolved and how theory can inform your own practical work. Alongside this we will be looking at different genres of photography and individual photographer's work and asking pertinent questions about the definition and intent of the work as both artefacts and modes of communication. You will be able to advance both your critical understanding of photographic practice, your own photographic practice and Photoshop software skills.
Reading List
Although no textbook covers everything we do on this module the books listed below give a good overview of the subject area:
Clarkle G 1997 The Photograph Oxford University Press
Wells, L (ed) 2003 The Photography Reader Routledge
Wells, L (ed) 2009 Photography: a critical introduction Routledge
Sturken M, Cartwright L, 2001 Practices of Looking: an introduction to visual culture Oxford University Press
Sontag, S. 2002 On Photography Harmondsworth: Penguin
Burgin, V (ed) 1982. Thinking photography Basingstoke: Macmillan
Soloman-Godeau, A. 1997 Photography At The Dock University of Minnesota Press
Barthes, R. Camera Lucida: reflections on photography. Translated by R. Howard 1984 London Flamingo |
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MDS-20019 |
Analysing Culture |
C |
C
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7.5 |
15 |
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In Analysing Culture we consider how culture enables people to make sense of their personal and social lives. The first session of the course refers to Geertz&©s classic paper on Balinese society to introduce the concept of culture. The key question we want to ask through our study of Geertz essay is $ùwhat is culture?&© Following this example of an anthropologically strange culture we move on to think about the construction of national identity through a consideration of Hall&©s work on western identity, Said&©s essay on orientalism, Anderson&©s notion of imaginary communities, and various representations of contemporary nationality. Although the nation has provided a strong cultural map for people since the middle of the 17th century, the rise of modern urbanism has challenged this cultural form through its embrace of privacy and a culture of alienation. In week 3 we consider urban culture, read Simmel&©s classic essay on the metropolitan mind, and think about the ways in which the city is represented today. In the next session we show how people have sought to relate culture to the problem of alienation in modern culture. In week 4 we think about the notion of consumer culture through Adorno and Horkheimer&©s idea of mass culture and Klein's theory of branding and consider how commodities might work like narcotics that numb our senses to the impoverished reality of our one-dimensional society. Our key cultural texts here is Danny Boyle&©s film Trainspotting.
In the second part of the course we begin by thinking about cultural politics. In week 5 we focus on Bourdieu&©s idea of distinction and think about how far his theory reflects popular uses of culture in the contemporary world. For Bourdieu culture is not simply a form of deception, but rather a tool that people use in order to try to distinguish themselves from other people in the endless struggle that is competitive capitalism. Although Bourdieu suggests that people use culture for their own purposes, he thinks that they use it unimaginatively and strictly within the confines of capitalist ideology. Thus we may say that Bourdieu is essentially a Marxist. In week 6 we try to extend the Marxist theory of culture through an exploration of the works on the key writers on everyday life. In particular we refer to the idea of contested culture expressed in the works of the French theorists of constructed space and everyday life, Lefebvre and de Certeau. The purpose of this exercise is to suggest that culture may be a space of negotiation, contestation, and confrontation, rather than simply a mechanism of deception or distinction.
In week 7 we extend our exploration of this idea of cultural resistance through a discussion of the theory of sub-culture. This theory shows how new communities are able to emerge through consumer relations and cultural performance. We address this theory through a consideration of the classic example of punk, the more contemporary case of gangsta rap, and a reading of the works of the cultural sociologists of performance, Goffman, Garfinkel, and Mead. In the final three weeks of the course we move on to focus on theories of post-modernism, the culturally constructed body, and globalisation. In week 8 we explore the idea of post-modern culture through Dominic Strinati&©s essay on the topic, David Lynch&©s cinema, and Fredric Jameson&©s influential paper, Post-modernism, Or, The Cultural Logic of Late Capitalism. For Jameson culture is the dominant form of identification in post-modern society. He thinks that people no longer worry about economics or politics, but rather understand these categories through culture. What does this mean? We will try to find out week 10 when we consider the ideas of global culture and anti-capitalism. But before we consider global culture, we examine the post-modern concern for the body and in particular Bordo's theory of the economic body. In week 9 we approach Bordo's theory through a cultural history of thinking about and imaging the body, taking in the Greek God body, the modern super-hero body, and the post-modern techno body, represented by both Haraway's cyborg, Bordo's metabolic body, and various science fiction bodies.
Our study of the body, and body image, allows us to think about the ways that politics and economics are subsumed in culture in global society. Shifting from a study of the microcosm of the body to the macrocosm of the globalised world, in week 10 we refer to the works of contemporary writers, such as Giddens and Beck, who dispute the claims of the conflict theorists, such as Adorno and Horkheimer, by arguing that there is no monolithic centre of power that imposes meaning upon people&©s lives in global society. Rather Giddens and Beck argue that contemporary culture is characterised by risk, chance, and freedom of choice. In this session we think about their suggestion that traditional power structures no longer hold in post-modern / global society through an exploration of the idea of the new social movement and in particular anti-capitalist cultural politics. Our core text for this session is the recent film, Fight Club, which connects visions of the body and globalised consumer capitalism to issues of revolutionary cultural politics.
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MDS-20029 |
DIY Broadcasting: Digital Culture and You |
EP |
C
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7.5 |
15 |
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Although initially developed as a method of military and scientific communication in the 1960s, since the early 1990s internet use has become increasingly popular, with the majority of households in developed countries now connected to high-speed broadband. The internet age has bought about changes in modern society and the way that we communicate - perhaps most notably in the form of increased access to information, culture and the global marketplaces.
This module explores the impact of new technologies on media forms and audiences. In particular we will explore how these developments have democratised the media and provided opportunities for users to be producers. We will consider the questions this so-called democratisation of media raises. Can media truly be owned any more? What is the role of copyright? Where, if at all, do the boundaries between the amateur and professional lie? Perhaps most importantly, have the masses finally found their voice in modern society though collaboration and communication on a mass scale, or are we increasingly distracted and confused by a cacophony of anonymous and indistinguishable chatter? Over the course of this module there will be a variety of lectures, seminars and some practical sessions.
Assessment is based on a group practical piece and an individual critical evaluation (50%), plus an essay at 50%.
Introductory Reading:
Staiger J and Hake, S (2009) Convergence Media History. Routledge
Lister, M et al (2008) 2nd ed New Media: A Critical Introduction, London: Routledge
Trend, D. (2001) Reading Digital Culture, Blackwell.
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Media, Communications and Culture Minor - Level 3 Modules
| Semester 1 |
C/O |
TYP |
ECTS | CATS |
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FIL-30001 |
British Society through the Eyes of British Film: 1960s to the Present |
EA |
M
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7.5 |
15 |
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For economic reasons British Cinema has had a chequered history, especially since the 1960s. At all times, however, British directors have sought engagement with social issues, and many leading directors have striven to cast a critical eye on contemporary social and political events.
This module will seek to track the development of British society as it has been reflected in the British movie over the last five decades. It begins with a concentration on the pioneering films and directors of the 1960s, before moving through later decades to focus on the most recent developments. Participants on this course will be introduced to key social themes: working class culture (Saturday Night &©s Blow-Up) and dystopian anxiety about the implications of social and cultural change (If ... and A Clockwork Orange). Later films will concentrate both on the depiction of the underside of British society in My Beautiful Laundrette, My Name is Joe and This Is England, while multicultural modern Britain will also feature in My Beautiful Laundrette, Secrets and Lies, East is East, Bend it Like Beckham, Dirty Pretty Things and It&©s a Free World. At the same time students will be introduced to the work of some of the most important directors working in Britain over the last 40 years, including Lindsay Anderson, Ken Loach, Stanley Kubrick, Mike Leigh, Stephen Frears and Shane Meadows.
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FIL-30005 |
Parody in British Film and Television |
EA |
M
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7.5 |
15 |
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The aim of this module is to consider and critically discuss the place of parody as a mode in British film and television, focusing on such examples as the films of Monty Python, recent Channel 4 comedy, and British science fiction on the big and small screen. The module looks to situate parody as a specific tendency in British film and television production, considering the kinds of aesthetic approaches such texts employ, the cultural identities they work to produce, and the types of cultural debates surrounding them.
The module will involve detailed textual and contextual analysis of the chosen texts, considering the ways in which parody works as an aesthetic practice. At the same time, we will think about the kinds of debates generated by parody as an increasingly dominant mode in global film and television production: Is parody subversive or conservative? How can parody be used to explore and interrogate issues of representation? How do audiences relate to parody texts? In what ways do tendencies in parody reflect changes in the status of cultural texts, and attitudes to these texts?
In line with these questions, the module will focus on the specific meanings of parody within a British context. In what way, for example, does the British tendency toward parody reflect a critical or subservient relationship to dominant (American) film and television production? What forms of national identity are constructed through the parody of such texts? How might the industrial, economic and technological circumstances of British film and television dictate the parodic form of much of its output? |
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MDS-30012 |
Creative Magazine Production |
EP |
C
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7.5 |
15 |
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This module will provide you with the experience of working in a planning and production team in the layout of an envisaged $ùmagazine&© or $ùjournal&© concerned with culture. Each student will write one main article which will be negotiated with the publishing group plus smaller mini articles such as music reviews etc. Successful completion of the module will enable you to gain sophisticated skills in the analysis of writings on art and/or culture and cultural issues. It will also allow you to gain confidence in your own abilities to plan and complete similar work in the context of the demands of journal production.
The group will negotiate a 'house style' and design, using both text and image with Adobe Photoshop and Quarkxpress software to produce both a print version of their journal and an electronic version. This module incorporates employability skills which are highly desirable within media industries.
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MDS-30016 |
Seoul Summer School - South Korean Film (Level 3) |
EP |
C
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7.5 |
15 |
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This module enables students to spend 4 weeks in the summer (end June to end
July) at a partner university in Seoul, attending a course in Korean Film Theory and Filmmaking. It will take place at Dongguk University in South Korea.
Attending the Summer School is an excellent way to explore the multifaceted Orient - in a metropolitan city where East meets West. Moreover, many interesting places around South Korea can be visited.
Attending a standard academic module in a four week condensed timeframe you will be studing 'Introduction to Korean Film and The Film Production Workshop'. This will combine time in the classroom, introducing you to the theories of Korean Film interspersed with a filmmaking practicum.Your study will be guided by field and University instructors. You will undertake three assessments - (two in Seoul and one on your return to the UK).
There are additional costs associated with undertaking this module that must be borne by students, namely return flight to Seoul, Insurance, accommodation and living costs for the four-weeks; however, Keele and Dongguk University work together to organise student accommodation in halls nears the Dongguk campus so that students do not have to do this independently.
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SOC-30025 |
Streets, Skyscrapers, and Slums: The City in Social, Cultural, and Historical Context |
EA |
C
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7.5 |
15 |
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In this module we trace the cultural politics of the city from Ancient Athens to contemporary mega-cities, such as Los Angeles, Tokyo, and Lagos. Following the introductory lecture, which examines the meaning of the original cities of the ancient world, the first part of the module, modern cities, offers a consideration of the late 19th century / early 20th century European metropolises.
After an exploration of the ideas of metropolitan psychology, fashion, and the department store in the works of Georg Simmel and Walter Benjamin, we move on to think about the city in the late 20th century. Here we think about the situationist city, the spectacular city, and the surveillance city and consider the ideas of Guy Debord, Henri Lefebvre, and Michel Foucault.
In the second part of the module, post-modern cities, we study the American mega-city. For writers such as Fredric Jameson, Jean Baudrillard, and Mike Davis cities such as Los Angeles and Las Vegas are strange surreal places. In this section of the course we explore the post-modern city through the ideas of simulation, informationalism, urban violence, the ghetto, and the obsession with security.
After our exploration of the post-modern city, the final section of the module examines contemporary third world mega-cities. We begin with a consideration of Mike Davis&©s recent study of the third world slum and then move on to think about the ideas of pollution and danger in mega-cities.
Other topics in this section of the course include the situation of the occultism in the African city, corruption and crime in South Africa, and the mythology of the werewolf in one of Africa&©s most populous cities, Lagos.
The aim of the module is to explore the cultural politics of the city in history.
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SOC-30031 |
The Virtual Revolution: New Technologies, Culture and Society |
EA |
C
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7.5 |
15 |
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The use of New Information and Communication Technologies (NICTs) now dominates social and cultural practices in many parts of the world and has perhaps forever altered the ways in which we talk to each other, do business, and spend our leisure time. Considering both theories of the information society and technological developments in media, communications and computing since the industrial revolution, this module charts the rise of NICTs such as the Internet, digital media and mobile networks, and asks how they may have reshaped our lives.
We will think about this changing technological landscape by examining a number of everyday practices; for example the use of social networking sites to keep in touch and locate identity, how online shopping may have altered consumption habits, and the emergence of the blogosphere and citizen journalism as an alternative to mainstream media production. Implicit in our discussions is the idea that new technologies have strengthened the democratisation of public sphere debate by giving people access to information, versus the understanding that many remain on the fringes of the digital revolution.
The course will finally consider the suggestion that our demand for better, faster and safer communication technologies coupled with our most intimate details now being processed digitally, means that we have opened ourselves to almost constant surveillance. Against this we will reflect on activities that seek to negotiate and resist the virtual terrain.
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SOC-30032 |
Home: belonging, locality and material culture |
EA |
C
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7.5 |
15 |
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This module will critically explore the idea of home as a socio-cultural concept. Using an interdisciplinary approach, broadly located in sociology, but appealing to students interested in geography, english, marketing, psychology and media/cultural studies, it asks a number of difficult but fascinating questions about why we are all so obsessed with home cultures.
Why are we obsessed with the homes of celebrities? What dreams are we pursuing when we seek to nosy around their wine cellars and their marble bathtubs? Is this dream telling us something about our own narratives of belonging, or do we realise we will never achieve what they have? And how can we understand this obsession with homes in a social context: have we always been like this, or is this only since home buying became a central part of the British economy?
What is the significance of stuff? We're surrounded by it, but it is often mute and difficult to understand. We will be exploring the relationship of people to their things - displaying, collecting, disposing: the objects that make up home have enormous social, personal, cultural and psychological significance which needs unravelling.
Is it true that the only good music and art comes from 'running away from home'? From the Modernist avant garde, to punk, to Hirst and Emin, to grime - it seems that inspiration comes not from the stifling normality of homely life, but from city streets. Home spaces are often seen as the evil 'other' of creativity, yet they are as much a part of the modern city as shiny glass buildings and exciting public spaces.
What does the idea of home do to obscure the real social relations that go on behind closed doors? In what ways does the concept of the 'domestic' shelter us from the gritty reality of home life? And how is this ideology promoted and defended? The dark, uncanny side of home will be explored and themes from sociology, geography and cultural studies blended to examine how home is a key motif in notions of evil.
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| Semester 2 |
C/O |
TYP |
ECTS | CATS |
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ENG-30053 |
Postmodernism: Fiction, Film and Theory |
EP |
C
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7.5 |
15 |
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Postmodernism represents an important body of critical theory that developed in the second half of the twentieth century, and continues to have relevance in the twenty-first. It crosses a range of disciplines, but emphasizes an interrogative, reflexive and eclectic challenge to many philosophical and aesthetic values and practices. On this module, you will explore the relevance and meaning of some of the ideas associated with postmodernism with respect to selected novels and films. You will assess the influence of key ideas on writers and directors and you will study the main themes and techniques used in postmodern fiction and film. The module also encourages a critically-informed assessment of the implications of postmodern thinking for contemporary notions of history, identity, sexuality, politics and consumer society. Fiction and film likely to be studied on the module include Julian Barnes, A History of the World in 10½ Chapters; Jeanette Winterson, Oranges Are Not The Only Fruit; Martin Amis, Money; J. G. Ballard, Kingdom Come; The Hours (dir. Stephen Daldry); The Company of Wolves (dir. Neil Jordan); The Matrix (dir. Andy Wachowski and Larry Wachowski); and Mulholland Drive (dir. David Lynch).
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FIL-30004 |
British Women Directors |
EA |
M
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7.5 |
15 |
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This module will introduce students to some of the key works in the recent history of British Cinema and to investigate major theories around gender, particularly in the areas of creativity and representation.
Topics central to this module include gender, sexuality, the history of British cinema, and the ways in which film reflects developments and debates in contemporary society.
Directors and films studied on this module will include some of the following: Sally Potter ('The Gold Diggers', 'Orlando'), Gurinder Chadha ('Bhaji on the Beach', 'Bend It Like Beckham'). Lynne Ramsay ('Ratcatcher', 'Morvern Callar', 'We Need to Talk about Kevin') and Andrea Arnold ('Red Road', 'Fish Tank' and 'Wuthering Heights').
The module will study the films as cinematic works, and will include detailed textual analysis. It will also consider roles of women in society and cinema, as well as the impact of gender and gender theories on creativity and representation. |
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FIL-30006 |
Representing the Self, Family and Society on Contemporary British and American Television |
EA |
C
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7.5 |
15 |
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Television Studies interlinks with important areas of media, communication and cultural analysis, and aspects of film and screen studies. Focusing in particular upon contemporary British and American televisual texts, this module keys out the significance of televisual representation in the twenty-first century, focusing theoretically on key television studies theorists such as Jonathan Bignell, John Corner, Glen Creeber, and Trisha Dunleavy. Linking televisual representation to theories of culture, popularity, reception, generic categorisation and desire, you will explore the meanings encoded in TV texts not only via a study of aesthetics, but also through the study of televisual 'grammar'. Thematic areas of interest such as representations of self, the family and society, class, sex, the postmodern condition, and women are to be interrogated via close analysis of specific texts which may include: 'The Royle Family', 'Dexter', 'Gavin and Stacey', 'The Wire', 'Shameless', 'The Killing', 'Dollhouse', 'The Simpsons' and 'The Sopranos'.
Begin reading around the topic by dipping into Casey, ed., Television Studies: The Key Concepts (Routledge, 2008) and Jonathan Bignell's An Introduction to Television Studies, 2nd edn (Routledge, 2007). |
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MDS-30017 |
Visual Pleasures: From Carnival to Disney |
EP |
C
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7.5 |
15 |
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The media and our notions of leisure are inextricably connected, and our leisure time and activities, the leisure industries and our various leisure landscapes are expressions of the relationships we have with the media. This module uses these notions, experiences and articulations of leisure to take a critical look at the media.
-How does Disney act as an example of the political economy of the media?
-What part did the media play in ‘constructing’ the seaside to be part of our collective identity and popular culture?
-How has the media redefined sport, and particularly football, in recent times?
We interrogate how the media have shaped our ideas and our experiences of leisure through various forms and practices, spaces and places; through processes such as rationalization, commercialization and globalization, that are rooted in the material social, political and economic contexts.
We consider various critical perspectives of the media and locate them through a look at a range of particular historic and contemporary examples and contexts of leisure, such as the carnival, the seaside, shopping, theme parks, football, tourist destinations, gaming, the internet and social media.
Visual representations of the forms and expressions of our leisure help to construct the ways we perceive ourselves and our cultural identity. This module will consider, in particular, how these visual representations operate, through forms of ‘still’ and moving image. Examples will be drawn from the leisure and tourism industries, through press and PR, advertising, photojournalism as well as through specialist practitioners and non-professional practices.
Looking at specific examples and locations will help students to see how particular representations and ethnographies may be used to assist in an understanding of our relationship with the media and our leisure. Examples will be drawn from local as well as national and international contexts in order to enable students to experience at first hand, as a basis for their own assessed work as well as to foster an exploration of the relationship between the local and the global and what we ‘do’ and how we think.
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