Modules for course 2W89 | BA/FSIE
BA Film Studies (with International Experience)

These were the modules for this course in the 2018–19 academic year.

You can also view the modules offered in the years: 2019–20.

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Year 1 Modules

Compulsory Modules

Semester 1

  • UXS-1063: Film History (20)
    This module aims to provide students with an understanding of the link between film technologies, narratives, styles, genres, and subjects, and the societies in which film circulates. Lectures will introduce students to a range of important changes which have influenced the development of the filmic medium. The course will help students to situate the selected films in their cultural, , generic, and technological context. Lectures cover topics such as: Genre (Western, Screwball Comedy, Sport, Epic...), Narrative structure, Early Cinematic Milestones, The Introduction of Sound, Classical Hollywood Studio System, Asian Post-War Cinema, Italian Neo-Realism. Weekly screenings illustrate issues covered in lectures and associated readings, and will provide a case study for weekly workshops. Films/shorts to be screened may include: Le Voyage dans la Lune (Méliès, 1902), Man with a Movie Camera (Vertov, 1929), M (Lang, 1931), Blackmail (Hitchcock, 1929), Der Blaue Engel (Von Sternberg, 1930), Citizen Kane (Welles, 1941), Roma, Città Aperta (Rossellini, 1945), Rashomon (Kurosawa, 1950), Ladri di Biciclette (De Sica, 1948), À bout de soufflé (Godard, 1960), Memento (Nolan, 2000), There Will Be Blood (Anderson, 2007).
  • UXS-1065: Film Criticism (20)

Semester 2

  • UXS-1062: Film Language (20)
    This module provides students with a toolkit for the analysis of the moving image and aims to provide students with a technical vocabulary to enable them to analyse and to discuss how films communicate meaning. The individual elements of this toolkit are analysed in detail. Lectures cover topics such as: Mise-en-Scene, Editing, Camerawork, Sound, Lighting, and Style. Weekly screenings illustrate relevant aspects of film form. Films to be screened may include: A Man Escaped (Bresson, 1956), The Innocents (Clayton, 1961), City of God (Meirelles, 2002), Atonement (Wright, 2007), Bourne Ultimatum (Greengrass, 2007). The Red Shoes (Powell & Pressburger, 1948), and Moulin Rouge! (Luhrman, 2001)
    or
    UXC-1062: Iaith y Ffilm (20)
    Mae'r cwrs hwn yn fodd o alluogi myfyrwyr i ddysgu hanfodion dadansoddi'r ddelwedd symydol. Bydd myfyrwyr ar y cwrs yn dysgu terminoleg dechnegol a fydd yn eu cynorthwyo i ddadansoddi a dehongli y modd y mae ffilm yn cyfathrebu ystyr. Bydd darlithoedd unigol yn trafod pynciau megis Mise-en-Scene, Montage, Gwaith Camera, Sain, Goleuo ac Arddull Weledol. Bydd dangosiadau o ffilmiau perthnasol yn cael eu cynnal yn wythnosol, er mwyn cyflwyno engrheifftiau o'r pynciau dan sylw. Bydd y ffilmiau a ddangosir yn cynnwys: A Man Escaped (Bresson, 1956), The Innocents (Clayton, 1961), City of God (Meirelles, 2002), Atonement (Wright, 2007), Bourne Ultimatum (Greengrass, 2007). The Red Shoes (Powell & Pressburger, 1948), ac Moulin Rouge! (Luhrman, 2001)
  • UXS-1066: American Television Drama (20)

Optional Modules

40 credits from:

  • UXS-1001: Intro to Practical Journalism (20) (Semester 1)
    The Basics of Writing a News Story; How to write Intros, Drop Intros, Lively Intros; What makes a good news story?; Where do stories come from?; How to build a contacts book; How to conduct an interview; Writing for TV and Radio; Colour and Feature Writing; An Introduction to Shorthand; How to deal with breaking news.
    or
    UXC-1001: Cyfl. i Newyddiaduraeth Ymarf. (20) (Semester 1)
    Hanfodion ysgrifennu straeon newyddion; Sut i ysgrifennu Intros, Drop Intros, ac Intros Bywiog; Beth sy’n gwneud stori dda?; O le mae straeon yn dod?; Sut i greu llyfr contacts; Sut i gynnal cyfweliad; Ysgrifennu ar gyfer teledu a radio; Ysgrifennu erthyglau nodwedd; Cyflwyniad i llawfer; Ymdopi â newyddion sy’n torri.
  • UXS-1017: Writing Across Media (20) (Semester 1)
    In "Creating Narratives" you will have the opportunity to investigate, and participate in, a variety of creative activites relating to the production of fiction. You will be able to develop an awareness of issues connected with the writing and consumption of fiction (e.g.creative, cultural and technological issues), and discover how cultural norms and assumptions, and individually writerly actions, influence fiction writing choice and fiction readerships. You will look at contemporary fiction writing around the world in a variety of media, and consider the role of publishers and readers in the creative process.
  • UXS-1024: Introduction to Screenwriting (20) (Semester 2)
    This module is an introduction to the basic underlying principles of screenwriting. It introduces students to key features of writing for film, and assesses them on their analyses of the screenplay form, plus the writing of a screenplay and treatment, and the pitching of an original concept. Students will primarily focus on writing for the short film format in order to facilitate their assessed short film screenplay assignment. Lectures will deliver various aspects of screenwriting, broken down week-by-week so that students can digest specific aspects of the craft of screenwriting. These include script formatting, style, structure, genre, plotting, characterisation and dialogue. Students will also learn how to present their work in the form of industry treatments and outlines, as well as techniques for outlining a concept orally, in the form of a film pitch. Students will be encouraged to develop professional writing habits and to give and receive critically constructive comment and advice. Seminar time will be spent discussing aspects of screenwriting, screened short films, as well as providing an opportunity for students to carry out creative screenwriting tasks in groups. Students will also be encouraged to critically peer evaluate the work of their cohort, and to analyse published screenplays, applying knowledge gained in the lecture. Students will also be required to read portions of screenplay extracts from published work prior to the seminars and lectures (uploaded to Blackboard) in order to analyse them during the seminars.
  • UXS-1038: Intro' to Media Practice (20) (Semester 1)
    This course will introduce students to the basic skills and techniques which will enable them to explore the principles of media production through creative work. Students will work in groups to produce two short media texts, using broadcast standard equipment. Students will also be taught how to analyse their own work within the context of theory, and to establish a relationship between media production theory and practice.
    or
    UXC-1038: Cyf. i Ymarfer y Cyfryngau (20) (Semester 1)
    Bydd y cwrs hwn yn cyflwyno myfyrwyr i'r sgiliau a'r technegau sylfaenol fydd yn eu galluogi i archwilio egwyddorion cynhyrchu'r cyfryngau trwy waith creadigol. Bydd myfyrwyr yn gweithio mewn grwpiau i gynhyrchu dau destun cyfryngau byr, gan ddefnyddio offer darlledu safonol. Caiff myfyrwyr hefyd eu dysgu i ddadansoddi eu gwaith eu hunain yng nghyd-destun theori, a chreu cysylltiad rhwng theori ac ymarfer cynhyrchu'r cyfryngau.
  • UXS-1055: Digital Communication (20) (Semester 1)
    The module looks includes a study of information theory in which students engage models for understanding concepts that include data, pattern, similarity of differences, information, structure, design, and communication. Students also explore the history and technology of the internet and the web, the communication models that have grown from them, and the relationship between these channels and the production, delivery, sharing and sale of information. The model includes a practical element in which students work with various software tools to engage with tools and technologies for information design/presentation; this includes background to the main types of information software available and some of the principles that inform them.
    or
    UXB-1055: Cyfathrebu Digidol (20) (Semester 1)
    Mae myfyrwyr yn ymgysylltu â modelau ar gyfer deall cysyniadau sy'n cynnwys data, patrwm, tebygrwydd o wahaniaethau, gwybodaeth, strwythur, dylunio, a chyfathrebu. Myfyrwyr yn archwilio hanes a thechnoleg y rhyngrwyd a'r we, y modelau cyfathrebu sydd wedi tyfu oddi wrthynt, a'r berthynas rhwng y sianelau a chynhyrchu, cyflwyno, rhannu a gwerthu gwybodaeth. Mae'r modiwl yn cynnwys elfen ymarferol y myfyrwyr yn ymgysylltu ag offer a thechnolegau gwybodaeth am ddylunio / cyflwyniad. Mae hyn yn cynnwys cefndir y prif fathau o feddalwedd gwybodaeth sydd ar gael a'r egwyddorion sy'n llywio eu dyluniad. The module looks includes a study of information theory in which students engage models for understanding concepts that include data, pattern, similarity of differences, information, structure, design, and communication. Students also explore the history and technology of the internet and the web, the communication models that have grown from them, and the relationship between these channels and the production, delivery, sharing and sale of information. The model includes a practical element in which students work with various software tools to engage with tools and technologies for information design/presentation; this includes background to the main types of information software available and some of the principles that inform them.
  • UXB-1120: Dyfeisio Theatr (20) (Semester 1)
    What is performance? What are all the elements involved in a performance? The historical and cultural legacy of selected theatre traditions. How selected theatre traditions challenged and enhanced the notion of performance and the theatre.
    or
    UXS-1120: Theatre Making (20) (Semester 1)
    What is performance? What are all the elements involved in a performance? The historical and cultural legacy of selected theatre traditions. How selected theatre traditions challenged and enhanced the notion of performance and the theatre.
  • UXB-1403: Perf. ar gyfer y Llwyfan & Sg. (20) (Semester 2)
    • Introduction to the key techniques and methods used for performing for the stage and screen • Exploring the psychological, physical and vocal understanding of actor’s training • Investigating the historical and cultural legacy of selected performing traditions.
    or
    UXS-1403: Performing for Stage & Screen (20) (Semester 2)
  • UXS-1800: Game Studies (20) (Semester 1)
  • UXS-1801: Game Design 1 (20) (Semester 2)

Year 2 Modules

Compulsory Modules

Semester 2

60 credits from:

  • UXS-2006: Political Cinema & Television (20) (Semester 2)
  • LXG-2008: The German Film (20) (Semester 1)
    This module will examine a selection of nine German films reflecting key themes in German cinema, from its beginnings to the present day. Students will be provided with an introduction to the history of German cinema, and will develop a detailed knowledge of the films examined both as historical documents and as cinematic texts. Whilst certain attention will be paid to cinematographic devices and the different movements associated with German cinema, the module will also explore the chosen films in a far wider context, examining the social and historical events surrounding the creation of the films, thus broadening students' knowledge of German history and culture. Primary Sources: Films: Das Cabinet des Dr Caligari, dir. by Robert Wiene (1919) M: Eine Stadt sucht einen Mörder, dir. by Fritz Lang (1931) Triumph des Willens, dir. by Leni Riefenstahl (1935) Angst essen Seele auf, dir. by Rainer Werner Fassbinder (1973) Der Himmel über Berlin, dir. by Wim Wenders (1987) Lola rennt, dir. by Tom Tykwer (1998) Good Bye Lenin!, dir. by Wolfgang Becker (2003) Das Leben der Anderen, dir. by Florian Henckel von Donnersmarck (2006) Recommended Reading Bergfelder, Tim, et al., The German Cinema Book (London: BFI, 2002) Cooke, Paul, German Expressionist Films (Harpenden: Pocket Essentials, 2002) Elsaesser, T., New German Cinema: A History (New Brunswick, NJ: Rutgers University Press, 1989) Ginsberg, T. and K.M. Thompson (eds), Perspectives on German Cinema (New York: G.K. Hall, 1996) Hake, Sabine, German National Cinema (London: Routledge, 2002) Brockmann, Stephen, A Critical History of German Film (Rochester, NY: Camden House, 2010).
  • UXS-2021: America on Film (20) (Semester 1)
    This course examines how American History has been represented on film during the 20th C. to the present as well as how film can be used to understand and study American History.
  • QXE-2024: Alfred Hitchcock (20) (Semester 2)
    Alfred Hitchcock is perhaps the most notable example of a director whose films were popular both with audiences and with critics seeking to establish the credibility of film as an art form. His work provides a case-study of theories of authorship; of different national cinemas and studio systems, and of a particular genre, the thriller. In addition, the popularity and accessibility of Hitchcock’s films also raise questions concerning narrative, spectatorial pleasure, the gaze, and gender, and consequently provide an opportunity to explore the interrelation and limits of film theory and film practice
  • LXS-2033: The Cinema of Spain (20) (Semester 2)
    Spanish cinema and its pioneers Neorealism and political dissent in the 1950s (Luís Buñuel, Viridiana) Art house cinema in the 1960s (Víctor Erice, El espirítu de la colmena) The cinema of the transition: the `disenchantment¿ Popular genres in post-Franco Spain The Spanish film industry in the 1980s and 1990s Gender and sexuality is post-Franco cinema (Pedro Almodóvar, Hable con ella) Catalan and Basque cinema (Julio Medem, Tierra) The internationalization of Spanish cinema (Alejandro Amenábar, Mar adentro) Social realism at the turn of the century (Fernando León, Los lunes al sol) Women in contemporary Spanish cinema (Icíar Bollaín, Te doy mis ojos) The films are available in the School of Modern Languages DVD library. Primary Films: Luis Buñuel, Viridiana (1961) Víctor Erice, El espíritu de la colmena (1973) Pedro Almodóvar, Volver (2006) Agustí Villaronga, Pa negre (2010) Icíar Bollaín, Te doy mis ojos (2003) Recommended reading: Bentley Bernard P. E., A Companion to Spanish Cinema (London: Tamesis, 2008) Caparrós Lera, José María, El cine español de la democracia: de la muerte de Franco al "cambio" socialista (1975-1989) (Barcelona: Anthropos, 1992) Deveny, Thomas, Cain on Screen: Contemporary Spanish Cinema (Lanham: Scarecrow Press, 1999) D'Lugo, Marvin, Guide to the Cinema of Spain (Westport: Greenwood Press, 1997) Fiddian, Robin W. and Peter W. Evans, Challenges to Authority: Fiction and Film in Contemporary Spain (London: Tamesis Books, 1988) Jordan, Barry and Rikki Morgan-Tamosunas, Contemporary Spanish Cinema (Manchester: Manchester University Press, 1998) Pavlovi, Tatjana, 100 years of Spanish Cinema (Malden: Wiley-Blackwell, 2009) Triana-Toribio, Nuria, Spanish National Cinema (London: Routledge, 2003) Resina Joan Ramon (ed.), Burning Darkness: a Half Century of Spanish Cinema, ed. (Albany: SUNY Press, 2008)
  • UXS-2053: Film Industry Development (20) (Semester 2)
  • UXS-2059: Understanding Documentary (20) (Semester 1)
    This course will look at the development of documentary film, attempting to place important developments within a theoretical context. The course will begin by looking at the way in which the early pioneers of documentary film emerged in the 1920s, and seek to understand the contributions of John Grierson, Robert Flaherty and Dziga Vertov, and the relationship between their work. This will be followed by an examination of the emergence of Direct Cinema and Cinema Verité during the 1960s, and the challenges faced by those attempting to work within observational documentary. The rejection of the purely observational mode of documentary, and the rise of the participatory film-maker will follow, leading on to an examination of reflexive documentaries, the role of dramatisation within documentary film, drama-documentary and docudrama. The final part of the course will look at the influence of new technology upon documentary film, analysing the influence of both computer generated imagery and animation upon documentary film. Specific attention will be paid to the work of film-makers such as Albert and David Maysles, DA Pennebaker, Nick Broomfield, Molly Dineen, Errol Morris, and Kevin MacDonald among others.
    or
    UXC-2046: Y Ffilm ddogfen:Theori (20) (Semester 1)
    Bydd y cwrs hwn yn edrych ar ddatblygiad ffilmiau dogfen gan geisio gosod datblygiadau pwysig mewn cyd-destun damcaniaethol. Caiff hanes y ffilm ddogfen ei drafod yng nghyd-destun y cwestiynnau syniadaethol a ddilynodd o esblygiad gwahanol fathau o ffilmiau dogfen. Bydd myfyrwyr ar y cwrs yn edrych ar amrediad o ffilmiau, o'r 1920au hyd heddiw, ond bydd mwyafrif y ffilmiau a fydd yn cael eu harchwilio yn rhai cyfoes. Bydd gofyn i'r myfyrwyr ddadansoddi'r ffilmiau, gan gyfeirio at theori dogfen wedi ei ysgrifennu gan amrywiaeth o awduron, gan gynnwys: John Grierson, Dziga Vertov, Paul Rotha, Bill Nichols, Stella Bruzzi, John Corner, a Paul Wells, ymhlith eraill.
  • LXF-2104: French Cinema 1895-1950 (20) (Semester 1)
    The French hold cinema in greater esteem than perhaps any other nation, both as an art form and as popular entertainment; since its inception, the septième Art has produced a wealth of talent and many films of world standing. In this course we will look - on the big screen - at prominent examples of French cinema from its first decades, from the earliest work of the Lumière brothers in the 1890s to the mid-20th Century. The course looks at the general development of French cinema in the period, concentrating on: (i) a major classic from the silent era; (ii) a film from the Poetic Realism movement of the 1930s; (iii) an artistic, non-realist film from the end of the period covered. Key texts Main films studied Luis Buñuel’s Un Chien andalou Jean Vigo’s Vigo’s Zéro de conduite Jean Renoir’s Boudu sauvé des eaux Jean Renoir’s La Grande Illusion Marcel Carné’s Hôtel du Nord Marcel Carné’s Le Jour se lève Main secondary texts Andrew, James Dudley. Mists of regret: culture and sensibility in classic French film (Princeton: Princeton University Press, 1995). Armes, Roy. French Cinema (London: Secker and Warburg, 1985). Hayward, Susan. French National Cinema, (London and New York: Routledge, 2005). Hayward , Susan and Ginette Vincendeau (eds.). French Film: Texts and Contexts (London and New York: Routledge, 2002). Martin, John. The Golden Age of French Cinema, 1929-1939 (London: Columbus Books, 1983). Powrie, Phil and Keith Reader (eds.). French Cinema: A Student's Guide (London: Arnold, 2002). Williams, Alan. Republic of images: a history of French film making (Cambridge, MA: Harvard University Press, 1992).

Optional Modules

40 credits from:

  • UXS-2033: Practical Digital Journalism (20) (Semester 1)
    The course will begin with an introduction to on-line journalism, the influence of new digital technology on journalism and its implications for traditional forms of media. We will also discuss the ethical and legal issues involved in producing on-line content. You will be taught a range of skills including how gather news on-line, write and produce visual and audio content for digital news platforms and how to ensure that content reaches a wide audience. You will be expected to put these skills into practice and create your own digital news platform, create content from that platform and distribute that content to the widest possible audience.
    or
    UXC-2033: Newyddiaduraeth Ddigidol Ymarf (20) (Semester 1)
    Bydd y cwrs yn dechrau gyda chyflwyniad i newyddiaduraeth ar-lein, dylanwad technoleg ddigidol newydd ar newyddiaduraeth a'i goblygiadau i'r cyfryngau traddodiadol. Byddwn hefyd yn trafod y materion moesegol a chyfreithiol sydd ynghlwm wrth gynhyrchu cynnwys ar-lein. Byddwch yn dysgu amrywiaeth o sgiliau yn cynnwys sut i gasglu newyddion ar-lein, ysgrifennu a chynhyrchu deunydd gweledol a sain i lwyfannau newyddion digidol a sut i sicrhau bod y cynnwys yn cyrraedd cynulleidfa eang. Bydd disgwyl i chi roi'r sgiliau hyn ar waith a chreu eich llwyfan newyddion digidol eich hun, creu cynnwys i'r llwyfan hwnnw a rhannu'r cynnwys hwnnw gyda'r gynulleidfa fwyaf eang posib.
  • UXS-2048: Transmedia Storytelling (20) (Semester 2)
    In this module you will investigate storytelling in its various forms, writing through an awareness of critical theory, and creating original work relating to your investigations. You'll develop an awareness of issues (critical and creative) connected with storytelling, and consider the range, type and style of stories (genres, media, perspectives). You will discover how cultural norms and assumptions influence the telling of stories, exploring and applying relevant critical theory from the perspective of a writer, and reveal through your original work the nature of authorship and readership.
  • UXS-2052: Radio: Theory and Practice (20) (Semester 1)
    The lectures will initially focus on the history of radio as a specific medium, with a particular focus on Wales and the UK, as well as a broader international perspective. Different radio production methods will then be examined, and subsequently different programme genres, with specific examples being studied. The theoretical aspects of the module culminate in a broad conceptual review of the nature of the medium and how this is changing in the digital age. The practical workshops will run concurrently, with the students revising and developing generic production skills at the beginning of the course, before planning, researching and producing their own individual productions. These will be informed by the study of production methods, genres and programmes introduced in the lectures.
    or
    UXC-2052: Radio Theori ac Ymarfer (20) (Semester 1)
    Bydd y darlithoedd yn canolbwyntio yn gyntaf ar hanes radio fel cyfrwng penodol, gyda sylw arbennig i Gymru a’r Deyrnas Unedig, yn ogystal â phersbectif rhyngwladol ehangach. Nesaf, fe archwilir amryw o ddulliau cynhyrchu radio, ac yna gwahanol fathau o raglenni radio, gan ddadansoddi enghreifftiau penodol. Bydd agweddau damcaniaethol y modiwl yn cael eu crynhoi yn derfynol gydag arolwg cysyniadol eang o natur y cyfrwng a sut mae hyn yn newid yn yr oes ddigidol. Bydd y gweithdai ymarferol yn cyd-redeg â’r darlithoedd, gyda’r myfyrwyr yn datblygu eu sgiliau cynhyrchu cyffredinol cyn iddynt gynllunio, ymchwilio a chreu cynyrchiadau unigol. Bydd yr astudiaeth o ddulliau cynhyrchu, mathau o raglenni a rhaglenni penodol yn y darlithoedd o gymorth i’r myfyrwyr gyda’r gwaith ymarferol.
  • UXS-2057: Documentary Filmmaking (20) (Semester 2)
    During the first half of the module students will be given formal instruction in both documentary theory and media practice. This part of the module will examine the ways in which theoretical viewpoints influence the work of practitioners. It will also give students instruction in advanced production techniques, building upon the techniques learnt as part of UXS 1038 Introduction to Media Practice. In addition, the workshop sessions held during the first part of the course will allow students to undertake pre-production work on their final projects, in consultation with the tutors. During the second half of the semester, students will not be expected to attend weekly timetabled sessions. Students will undertake independent study during this period, using the time to develop and produce their final production project. Tutors will provide support, by appointment.
    or
    UXC-2057: Cynhyrchu'r Ffilm Ddogfen (20) (Semester 2)
    Yn ystod hanner cyntaf y modiwl, caiff myfyrwyr hyfforddiant ffurfiol ar theori rhaglenni dogfen ac ymarfer y cyfryngau. Bydd y rhan hwn o'r modiwl yn edrych ar sut mae safbwyntiau damcaniaethol yn dylanwadu ar waith ymarferwyr. Bydd hefyd yn rhoi hyfforddiant i fyfyrwyr ar dechnegau cynhyrchu uwch, gan adeiladu ar y technegau a ddysgwyd fel rhan o'r modiwl UXS 1038 Cyflwyniad i Ymarfer y Cyfryngau. Yn ogystal â hyn, bydd y sesiynau gweithdy a gynhelir yn ystod rhan gyntaf y cwrs yn caniatáu i fyfyrwyr wneud gwaith cyn-cynhyrchu ar eu projectau terfynol, gan ymgynghori â'r tiwtoriaid. Yn ystod ail hanner y semester, ni fydd disgwyl i fyfyrwyr fynd i sesiynau wythnosol wedi eu hamserlennu. Bydd myfyrwyr yn astudio'n annibynnol yn ystod y cyfnod hwn, gan ddefnyddio'r amser i ddatblygu a chynhyrchu eu project cynhyrchu terfynol. Bydd y tiwtoriaid yn rhoi cefnogaeth, trwy apwyntiad.
  • UXS-2058: Writing for Film & Television (20) (Semester 2)
    This module is designed to develop knowledge and skills in writing for film, and introduces key stylistic and textual characteristics of writing for television. The module provides an overview of television writing, separated into television drama and the situation comedy, and outlines the specific demands of these formats for screenwriters. Students are then assessed on their own original television concept in the form of a treatment and screenplay extract, plus a short critical and reflective essay. The course then goes on to present advanced theories of writing for film - developing concepts of characterisation, structure, genre, visual storytelling and the use of dialogue and action. Students will be encouraged to engage with formal screenwriting concepts such as the three-act structure, genre tropes, active protagonists and plot resolutions. However, they will also be expected to interrogate and challenge these elements of screenwriting craft, and are expected to display this engagement in their assessed work. Students will be assessed on their own original film concept in the form of a treatment and screenplay extract (for a short film or feature film), plus a critical and reflective essay. Lectures will deliver various features of writing for television and film, using screenings as contextual support material. Lectures will initially present some basic concepts of screenwriting such as script formatting, style, structure, genre, plotting, characterisation and dialogue, before moving on to deal specifically with television drama, situation comedy, the short film and the feature film. Seminar time will be spent discussing various aspects of screenwriting outlined in the lectures. Students will be encouraged to engage with, and challenge, elements of the craft of screenwriting, and to carry out creative screenwriting tasks in groups. Students will also critically peer evaluate the work of their cohort, and analyse published screenplays, applying knowledge gained in the lectures. Students will be required to develop professional writing habits and to give and receive critically constructive comment and advice. Proposed films and television programmes to be screened include: The Sopranos (Chase, 1999-2007), The Wire (Simon, 2002-08), Red Riding (Jarrold, 2009), The Singing Detective (Potter, 1986), The Prisoner (McGoohan, 1967-68), Oz (Fontana, 1997-2003), Twin Peaks (Frost/Lynch, 1990-91), The IT Crowd (Linehan, 2006- ), Spaced (Wright, 1999-2001), The Office (Gervais/Merchant, 2001-3), Father Ted (Linehan, 1995-8). The Third Man (Reed, 1949), Brief Encounter (Lean, 1945), The Devil¿s Backbone (Del Toro, 2001), Intacto (Fresnadillo, 2001), Hunger (McQueen, 2008), Dead Man's Shoes (Meadows, 2004), The Sea Inside (Amenábar, 2004), The White Ribbon (Haneke, 2009), Festen (Vinterberg, 1998), Uzak (Ceylan, 2002), Sympathy for Mr Vengeance (Park, 2002), Let the Right One In (Alfredson, 2008), The Road (Hillcoat, 2009), Sexy Beast (Glazer, 2000), No Country for Old Men (Coen, 2007)
  • UXS-2063: Digital Advertising (20) (Semester 2)
  • UXS-2099: Research and Methods (20) (Semester 2)
    Introduction; choosing a research topic Writing a research proposal Research Paradigms: Positivism vs Interpretivism Working with texts 1: Textual analysis Working with texts 2: Content analysis Fieldwork 1: Questionnaires, interviews and focus groups Fieldwork 2: Ethnography and participant observation Case study approaches Quantitative and qualitative sampling issues Research Ethics Doing a literature review; writing a dissertation
  • UXS-2100: Digital Journalism (20) (Semester 2)
    The module will map the digital terrain exploring the hopes and fears surrounding Web 1.0 and Web 2.0 technologies; and technological and cultural convergence of old and new media. New ways of doing journalism will examine the phenomenon of citizen journalism, the financing of online journalism when audiences no longer want to pay, and new methods of sourcing information (such as Wikileaks and Twitter). The impact of digital journalism on political manipulation and social resistance will be explored, through examining cultural practices such as sousveillance ('watching from below'). Throughout, issues of trust, authenticity and immediacy - all issues that are intensified in the digital environment - will be explored.
  • UXS-2121: Theatre & Perf.:The Self (20) (Semester 2)
    Theories of Self, identity and autobiography in performance Examples of current and past arts practice in relation to identity and the self Rehearsal processes and directing Portfolio creation Critical analysis of theatre and performance
    or
    UXB-2121: Theatr a Pherfformio: Yr Hunan (20) (Semester 2)
    Theories of Self, identity and autobiography in performance Examples of current and past arts practice in relation to identity and the self Rehearsal processes and directing Portfolio creation Critical analysis of theatre and performance
  • UXS-2123: Professional Practice (20) (Semester 1)
    Professional practice Arts institutions Structure of Arts funding Policy and strategy of arts organisations and funding bodies Application processes for arts funding Arts management Marketing in the arts Arts project development Community practice Report writing
    or
    UXB-2123: Ymarfer Proffesiynol (20) (Semester 1)
    Professional practice Arts institutions Structure of Arts funding Policy and strategy of arts organisations and funding bodies Application processes for arts funding Arts management Marketing in the arts Arts project development Community practice Report writing
  • UXS-2150: 21st C. Writing & Publishing (20) (Semester 2)
    Students will have the option to either study a published work for its path to market, or to create their own digital or prose narratives, and explore publishing avenues. They will examine digital narratives in critical contexts, as well as the studying the design choices involved in publishing work for Digital Media (visual story, hypertext, website, interactive fiction, etc.) or e-publishing. They will explore the use of advanced hypermedia techniques such as using Flash, Inform7, Calibre, XML, html, etc. They may create stories in multiple modes of communication (text, visual, ludic, audio, etc.). They will also explore topics on the economic possibilities for writers in the digital age. The focus is on digital writing and the new publishing pathways.
  • UXS-2800: Game Design 2 (20) (Semester 1)
  • UXS-2801: Game Development (20) (Semester 2)

Year 4 Modules

Compulsory Modules

40 credits from:

  • UXS-3090: Dissertation (40) (Semester 1 + 2)
    This module is a period of supervised research culminating in the submission of a 10,000-word dissertation worth 40 credits. In week six students will make a 10 minute oral presentation on the progress of their research to date. Students wishing to produce a piece of practice-based audio-visual research (e.g. a fiction or non-fiction television, film or radio piece) must normally register for UXS 3091 (Final Year Group Project), although there is opportunity to employ creative methodologies so for practice-based students to utilise their learning and skills in a research context.
    or
    UXC-3090: Ast'th Unigol neu Draethawd (40) (Semester 1 + 2)
    Mae'r modiwl hwn yn datblygu ar yr hyn a astudiwyd yn y modiwl UXS 2092 yn yr ail flwyddyn. Cyfnod o ymchwil dan oruchwyliaeth fydd yn arwain at gyflwyno traethawd hir 10,000 o eiriau gwerth 40 credyd yw'r modiwl hwn. Yn wythnos 6, bydd gofyn i fyfyrwyr roi cyflwyniad llafar 10 munud ar hynt eu hymchwil hyd yma. Fel rheol, dylai myfyrwyr sydd eisiau gwneud ymchwil clyweledol yn seiliedig ar ymarfer (e.e. darn teledu, ffilm neu radio ffuglen neu ffeithiol) gofrestru ar UXS 3091 (project grŵp blwyddyn olaf) yn lle’r modiwl hwn, er bod cyfle i ddefnyddio methodolegau creadigol er mwyn i fyfyrwyr ar gyrsiau sy'n seiliedig ar ymarfer allu defnyddio eu dysgu a'u sgiliau mewn cyd-destun ymchwil. Ni ellir cymryd y modiwl hwn gyda UXS 3090. Mae'n rhaid ichi fod wedi astudio UXS 2099 NEU UXS 2092 er mwyn dilyn y modiwl hwn.
  • UXS-3092: Dissertation - Action Research (40) (Semester 1 + 2)

20 to 80 credits from:

  • UXS-3006: Political Cinema & Television (20) (Semester 2)
  • LXI-3011: Adaptations in European Cinema (20) (Semester 1 + 2)
    During this course you will be introduced to issues relating to the re-use of tradition through the study of adaptations and/or recreations of literary texts, historical events or historical figures in Spanish and Italian cinema. You will thus become familiar with the socio-historical and ideological concerns that characterise contemporary Spain and Italy and you will reflect on the importance of film as a cultural medium. Primary sources: Films - Bernardo Bertolucci, 'Spider's Stratagem' (1969) - Vittorio De Sica, 'The Garden of the Finzi-Continis' (1970) - Francesco Rosi, 'Carmen' (1984) - Carlos Saura, 'Carmen' (1983) - Film and literary adaptions of the myth of Pygmalion - David Trueba, 'Soldados de Salamina' (2003) Primary sources: Texts ** A Dossier with all compulsory reading material (including short primary sources and required critical reading for seminars) will be made available from SMLC office in week 1. - Borges, Jorge Luis, "Theme of the Traitor and the Hero" in 'Labyrinths' (Penguin Books, 1970) [in dossier] - Bassani, Giorgio, 'The Garden of the Finzi-Continis' (Quartet Books, 1997) or Bassani, Giorgio 'Il Giardino dei Finzi-Contini' (Einaudi, 1999) - Bizet, Georges, 'Carmen', libretto by Henri Meilhac and Ludovic Halévy with English [in dossier] - Mérimée, Prosper, 'Carmen' trans. by Nicholas Jotcham (Oxford: Oxford UP, 1998) [in dossier] - Quim Monzó, ‘Pigmalió’, in El perquè de toto plegat (Quaderns Crema, 1993). - Javier Cercas, 'Soldados de Salamina' (Tusqusts Editores, 2003); 'Soldiers of Salamis' (Bloomsbury, 2003)
  • UXS-3019: America on Film (20) (Semester 1)
    This course examines how American History has been represented on film from the 1960s to the present as well as how film can be used to understand and study American History. It is taught by weekly 2 hour seminars, and the module will cover topics and themes in the history of America, including Vietnam, Watergate, Reaganism, Clintonism and the Bush Era. Screenings will be shown as appropriate and may include The Green Berets, All the President's Men, Rambo, Terminator, Independence Day, Hostel and Munich.
  • LXS-3041: Iberian Identity on the Screen (20) (Semester 2)
    The module will cover the following topics: 1) Theorising national cinema: key concepts; 2) Challenging the hegemonic gaze: the Barcelona School of Film; 3) Staging Identity: Adaptations of theatre and the novel 4) Re-mapping the urban landscape: the films of Ventura Pons; 5) Female Subjectivity and Authorship in Sílvia Munt’s Gala (2003); 6) Monstrous Identities: containing illness and sexual deviance in El mar by Agustí Villaronga; 7) Trauma in Elisa K by Judith Colell and Jordi Cadena; 8) The New Documentary: Memory and Reconstruction; 9) Beyond National Boundaries: Transnationalism and Multilingualism in Els nens salvatges by Patricia Ferreira ; 10) New Directions: science fiction and the horror genre; and 11) Scene-Analysis (one-hour in-class assessment) & Revision and Essay Preparation. Core films: Delete Nedar by Carla Subirana
  • UXS-3053: Film Industry Development (20) (Semester 2)
  • LXF-3106: French Cinema since 1960 (20) (Semester 2)
    In chronological terms, this course follows on from module LXF2104 French Cinema 1895-1950. However, students who have not taken LXF2104 or have not previously studied cinema are more than welcome to take this module. This course will focus on French cinema from the New Wave period of the 1950s and 1960s to the new millennium. Through analysis of films by four different directors from four different decades, key cinematic trends will be identified, analysed and contextualized. Key trends / periods to be studied include 1950s/60s New Wave cinema, the "cinéma du look" of the 1980s, and the renewal of social and political cinema in France since 1995. This will expose students to key concepts in film studies and encourage critical reflection on how the range of techniques utilised by a director contribute to cinematic meaning. The films studied will be situated both in relation to cinematic and political trends contemporary to their production. Key texts Austin, Guy. 1996. Contemporary French Cinema: An Introduction . (Manchester and New York: Manchester University Press). Ezra, Elizabeth. 2004. European Cinema (Oxford and New York: Oxford University Press). Hayward, Susan. 2005 (or 1993). French National Cinema, (London and New York: Routledge). This book is available on the library website as an e-book: click here. Hayward , Susan and Ginette Vincendeau (eds.). 2002. French Film: Texts and Contexts (London and New York: Routledge). Hjort, Mette and Scott Mackenzie. 2000. Cinema and Nation (London and New York: Routledge). See chs. 4-7, esp. Ch.6 on 'Framing National Cinemas' by Susan Hayward. This book is available via the library website as an e-book: click here. Kline, T. Jefferson. 2010. Unravelling French Cinema (Oxford: Wiley-Blackwell). Available as an e-book via the Bangor University website: http://www.bangor.eblib.com/patron/FullRecord.aspx?p=485677. Powrie, Phil (ed.). 1999. French cinema in the 1990s : continuity and difference (Oxford: Oxford University Press). Powrie, Phil and Keith Reader (eds.). 2002. French Cinema: A Student's Guide (London: Arnold). See esp. pp. 3-53. This book is available on the library website as an e-book: click here. Any other learning resources The core films studied are Jean-Luc Godard's A Bout de souffle (1960), Jean-Luc Godard's Week-end (1967), Claude Chabrol's Le Boucher (1970), Luc Besson's Subway, Jacques Martineau and Olivier Ducastel's Drôle de Félix (1999) and Nicolas Philibert's Etre et avoir (2002) and Michel Haznavicius' The Artist (2011).

Optional Modules

0 to 60 credits from:

  • UXS-3033: Practical Digital Journalism (20) (Semester 1)
    The course will begin with an introduction to on-line journalism, the influence of new digital technology on journalism and its implications for traditional forms of media. We will also discuss the ethical and legal issues involved in producing on-line content. You will be taught a range of skills including how gather news on-line, write and produce visual and audio content for digital news platforms and how to ensure that content reaches a wide audience. You will be expected to put these skills into practice and create your own digital news platform, create content from that platform and distribute that content to the widest possible audience.
    or
    UXC-3033: Newyddiaduraeth Ddigidol Ymarf (20) (Semester 1)
    Bydd y cwrs yn dechrau gyda chyflwyniad i newyddiaduraeth ar-lein, dylanwad technoleg ddigidol newydd ar newyddiaduraeth a'i goblygiadau i'r cyfryngau traddodiadol. Byddwn hefyd yn trafod y materion moesegol a chyfreithiol sydd ynghlwm wrth gynhyrchu cynnwys ar-lein. Byddwch yn dysgu amrywiaeth o sgiliau yn cynnwys sut i gasglu newyddion ar-lein, ysgrifennu a chynhyrchu deunydd gweledol a sain i lwyfannau newyddion digidol a sut i sicrhau bod y cynnwys yn cyrraedd cynulleidfa eang. Bydd disgwyl i chi roi'r sgiliau hyn ar waith a chreu eich llwyfan newyddion digidol eich hun, creu cynnwys i'r llwyfan hwnnw a rhannu'r cynnwys hwnnw gyda'r gynulleidfa fwyaf eang posib.
  • UXS-3048: Transmedia Storytelling (20) (Semester 2)
  • UXS-3049: Advanced Screenwriting (20) (Semester 1)
    Lectures will deliver various discourses on the history and development of adaptations, and interrogate the relationship of various media to film. Lectures will also examine a range of concepts related to adaptation, including authorship, visual storytelling, narratology and intertextuality. These concepts will then be applied to film adaptations screened in the same week. Seminar time will be spent discussing theories of adaptation, and also provide an opportunity for students to carry out creative adaptation tasks in groups, such as conceiving short film ideas, and developing adaptations from non-literary sources, such as music and photography, and other visual arts. Students will need to demonstrate an understanding of key theories related to the comparative textual analysis of an adaptation to its source material in assessed essays. However, the module is heavily focused on the creative act and process of adaptation, and offers the chance for students to radically imagine pre-existing texts in other media in their assessed coursework. Proposed films to be screened include: Adaptation (Jonze, 2002), Throne of Blood (Kurosawa, 1957), American Psycho (Harron, 2000), The Innocents (Clayton, 1961), The Others (Amenábar, 2001), The Watchmen (Snyder, 2009), Don't Look Now (Roeg, 1973), The Shining (Kubrick, 1980), Apocalypse Now (Coppola, 1979), Stalker (Tarkovsky, 1979), Zatoichi (Kitano, 2003), Where the Wild Things Are (Jonze, 2009), La Jetée (Marker, 1962), 12 Monkeys (Gilliam, 1995), Naked Lunch (Cronenberg, 1991), A Cock & Bull Story (Winterbottom, 2005), Elephant (Clarke, 1989), Elephant (Van Sant, 2003), The Five Obstructions (Leth/Von Trier, 2003).
  • UXC-3052: Ymarfer Radio Pellach (20) (Semester 2)
    Bydd y darlithoedd yn canolbwyntio yn gyntaf ar hanes radio fel cyfrwng penodol, gyda sylw arbennig i Gymru a’r Deyrnas Unedig, yn ogystal â phersbectif rhyngwladol ehangach. Nesaf, fe archwilir amryw o ddulliau cynhyrchu radio, ac yna gwahanol fathau o raglenni radio, gan ddadansoddi enghreifftiau penodol. Bydd agweddau damcaniaethol y modiwl yn cael eu crynhoi yn derfynol gydag arolwg cysyniadol eang o natur y cyfrwng a sut mae hyn yn newid yn yr oes ddigidol. Bydd y gweithdai ymarferol yn cyd-redeg â’r darlithoedd, gyda’r myfyrwyr yn datblygu eu sgiliau cynhyrchu cyffredinol cyn iddynt gynllunio, ymchwilio a chreu cynyrchiadau unigol. Bydd yr astudiaeth o ddulliau cynhyrchu, mathau o raglenni a rhaglenni penodol yn y darlithoedd o gymorth i’r myfyrwyr gyda’r gwaith ymarferol.
  • UXS-3052: Advanced Radio Practice (20) (Semester 2)
    The lectures will initially focus on the history of radio as a specific medium, with a particular focus on Wales and the UK, as well as a broader international perspective. Different radio production methods will then be examined, and subsequently different programme genres, with specific examples being studied. The theoretical aspects of the module culminate in a broad conceptual review of the nature of the medium and how this is changing in the digital age. The practical workshops will run concurrently, with the students revising and developing generic production skills at the beginning of the course, before planning, researching and producing their own individual productions. These will be informed by the study of production methods, genres and programmes introduced in the lectures.
    or
    UXC-3052: Ymarfer Radio Pellach (20) (Semester 2)
    Bydd y darlithoedd yn canolbwyntio yn gyntaf ar hanes radio fel cyfrwng penodol, gyda sylw arbennig i Gymru a’r Deyrnas Unedig, yn ogystal â phersbectif rhyngwladol ehangach. Nesaf, fe archwilir amryw o ddulliau cynhyrchu radio, ac yna gwahanol fathau o raglenni radio, gan ddadansoddi enghreifftiau penodol. Bydd agweddau damcaniaethol y modiwl yn cael eu crynhoi yn derfynol gydag arolwg cysyniadol eang o natur y cyfrwng a sut mae hyn yn newid yn yr oes ddigidol. Bydd y gweithdai ymarferol yn cyd-redeg â’r darlithoedd, gyda’r myfyrwyr yn datblygu eu sgiliau cynhyrchu cyffredinol cyn iddynt gynllunio, ymchwilio a chreu cynyrchiadau unigol. Bydd yr astudiaeth o ddulliau cynhyrchu, mathau o raglenni a rhaglenni penodol yn y darlithoedd o gymorth i’r myfyrwyr gyda’r gwaith ymarferol.
  • UXS-3063: Digital Advertising (20) (Semester 2)
  • UXS-3068: Wandering (20) (Semester 2)
  • UXS-3074: Short film production (20) (Semester 2)
    The taught element of this course will provide students with advanced instruction in four elements of short film production  Video recording  Sound recording  Video editing  Sound editing and dubbing Supervisory sessions will be tailored to each group's individual needs, and will be mapped out at the beginning of the module, in consultation with each group's individual supervisor. Supervisors will provide students with consistent feedback on their work, and will co-operate with them to identify areas where there is a need for development, providing guidance on how each group, and each individual student, can improve their work through both guided tutoring and student-led learning.
    or
    UXC-3074: Cynhyrchu'r ffilm fer (20) (Semester 2)
    Bydd rhan hyfforddedig y cwrs yn rhoi uwch gyfarwyddiadau i fyfyrwyr am bedair elfen o gynhyrchu ffilm fer  Recordio fideo  Recordio sain  Golygu fideo  Golygu sain a dybio Bydd y sesiynau dan oruchwyliaeth yn cael eu teilwra at anghenion unigol pob grŵp a byddant wedi eu rhestru ar ddechrau'r modiwl, mewn ymgynghoriad â goruchwyliwr unigol pob grŵp. Bydd goruchwylwyr yn rhoi adborth cyson i fyfyrwyr am eu gwaith, ac yn cydweithio gyda hwy i ddynodi meysydd sydd angen eu datblygu, yn rhoi canllawiau am sut y gall pob grŵp, a phob myfyriwr unigol, wella eu gwaith trwy gael arweiniad tiwtor a dysgu dan arweiniad myfyrwyr.
  • UXS-3100: Digital Journalism (20) (Semester 2)
    The module will map the digital terrain exploring the hopes and fears surrounding Web 1.0 and Web 2.0 technologies; and technological and cultural convergence of old and new media. New ways of doing journalism will examine the phenomenon of citizen journalism, the financing of online journalism when audiences no longer want to pay, and new methods of sourcing information (such as Wikileaks and Twitter). The impact of digital journalism on political manipulation and social resistance will be explored, through examining cultural practices such as sousveillance ('watching from below'). Throughout, issues of trust, authenticity and immediacy - all issues that are intensified in the digital environment - will be explored.
  • UXS-3122: Theatre and Performance: Self (20) (Semester 2) or
    UXB-3122: Theatr a Pherfformio: Yr Hunan (20) (Semester 2)
    Theories of Self, identity and autobiography in performance Examples of current and past arts practice in relation to identity and the self Rehearsal processes and directing Portfolio creation Critical analysis of theatre and performance
  • UXS-3123: Professional Practice (20) (Semester 1) or
    UXB-3123: Ymarfer Proffesiynol (20) (Semester 1)
    Professional practice Arts institutions Structure of Arts funding Policy and strategy of arts organisations and funding bodies Application processes for arts funding Arts management Marketing in the arts Arts project development Community practice Report writing
  • UXS-3126: Animation & motion graphics (20) (Semester 1)
    Keyframe animation, drawn animation, rotoscoping, stop-motion animation, infographic design, principles of design, elements of design, storyboarding and animation design, reflective practice, history of animation, major animation styles, current independent animations.
  • UXS-3150: 21st C. Writing & Publishing (20) (Semester 2)
    Students will create their own digital or prose narratives, and explore publishing avenues. They will examine digital narratives in critical contexts, as well as the practice of creating a complete work for Digital Media (visual story, hypertext, website, interactive fiction, etc.) or e-publishing. They will develop and make use of advanced hypermedia techniques such as using Flash, Inform7, Calibre, XML, html, etc. They may create stories in multiple modes of communication (text, visual, ludic, audio, etc.). Thep will also explore topics on the economic possibilities for writers in the digital age. The focus is on digital writing and the new publishing pathways.