Modules for course P3W8 | BA/FSCW
BA Film Studies and Creative Writing
This is a provisional list of modules to be offered on this course in the 2019–20 academic year.
The list may not be complete, and the final course content may be different.
- UXS-1063: Film History (20) Core 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)
- UXS-1062: Film Language (20) Core 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) CoreMae'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)
60 credits from:
- QXP-1001: Creative Writing: Prose (20) (Semester 1 + 2) This module, compulsory for creative writing students, introduces you to a wide range of creative prose-writing, both fictional and documentary and you will examine creative techniques used in short stories, autobiography, memoir, travel-writing, critical essays/literary reviews and play-scripts. It will include practical sessions in which students will begin to produce their own work in these genres, and group discussion of students’ work in progress. We will discuss the ways in which these genres are distinct from one another and yet share certain features and may in fact be merged by deliberate techniques of hybridisation. We will ask such questions as how a writer of fiction handles the transformation of personal experience as compared to the writer of memoirs. Can imaginative, speculative biographies enhance rather than falsify our knowledge of their subjects? How do writers tackle the adaptation of their work from one medium to another? As well as examining, from the practitioner's point of view, texts by leading authors and critics, you will be encouraged to work independently on your own material, helped by writing-exercises and longer-term assignments designed to stimulate ideas and sharpen technique. You will be encouraged to present your work for class discussion and, by receiving and giving feedback in a supportive atmosphere, you will develop your skills as a close reader and an articulate critic.
- 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.
- QXP-1003: Creative Writing: Poetry (20) (Semester 1 + 2) This module, compulsory for creative writing students, introduces you to the range of forms available to the poet in the twenty-first century. You will read a variety of poetry and respond through producing your own poems. You will be asked to work in a variety of forms and to justify your reasons for choosing them. The module will demonstrate the ways in which poetry is an art form particularly well suited to expressing the experience of contemporary everyday life. We will also look at connections between poetry and music and the visual arts as well as the impact of digital technologies. Poetry will be presented both in the written and spoken form, and students will be encouraged to consider the performance of poetry both in class and by attending and reviewing recommended evening poetry readings by leading poets. .
- QXE-1013: Reading, Thinking, Writing (20) (Semester 1) The course will include analytical reading of drama, prose, poetry and film in English from the medieval period to the present era; an introduction to critical and theoretical approaches to the reading of literature; integration of close textual study and critical/theoretical approaches, as the foundation for all other modules in the School; practical development of skills of literary commentary, essay writing, and critical discussion.
- 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.
- QXP-2004: Creative Writing: The Novel (20) Creative Writing: The Novel will guide you through the ways and means of writing a novel. You will be taught methods of composition and creation of novels, including practical and analytical consideration of novelistic structure and design, viewpoint, voice and role-play, and developing style and tone. It also includes, with reference to the practical application and consideration of these elements, consideration of the variety of forms relevant to the contemporary novel, comparing and contrasting novels, present and past, with other forms of creative writing.
- QXP-2001: C/Writing: Poetry & Short Fict (20) This double-thin module is designed to help solve the problem that inexperienced writers have of writing in ways that are too abstract and general. You will be set exercises that sharpen dialogue and assist with the depiction of place in fiction, and exercises that demonstrate how images are most effectively evoked in poems. These ‘showing’ devices will then be placed in context by the use of models that indicate the importance of ‘telling’, that indicate how scenic devices in fiction are framed by direct authorial intervention, and how images in poems are linked to statements that further define and complicate them. Students are required to attend and review three evening poetry-readings to be given by leading poets during the course.
- UXS-2064: Film Theory (20)
40 credits from:
- LXG-2008: The German Film (20) (Semester 2) 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).
- 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-2050: Race & Gender (20) (Semester 2) Topics to be looked at will include, Senegalese Cinema, representing prostitution, women in photography, race and gender in performance art, representing women on film, women and genre, Women and horror, women and action, Australian Visual Culture, Aboriginal female film makers, remembering the slave trade, post-colonialism, neo-colonialism and representation, how we define ‘white’.
- 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.
- UXS-2062: Film Distribution & Marketing (20) (Semester 1)
- 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).
20 credits from:
- QXP-2005: Transformative Writing (20) (Semester 1) Some of today's well known works of literature were produced by writers 'writing back' to and transforming certain source materials. Examples include Peter Carey's prize-winning tnrsformation of Dickens' 'Great Expectations' in 'Jack Maggs' (1997), and Gregory Maguire's transformation of Baum's 'Wizard of Oz' in 'Wicked: The Life and times of the Wicked Witch of the West' (1995). This module examines the ideas and chanllenges of transformative writing, how such writing differs from adaptation, and how professional writers have employed it in their works. Students will be introduced to the practice of responding through creative writing, and given the chance to select their own source material (of whatever kind) in order to experiment and 'write back' to it. Students will also have the opportunity to experience and reflect upon the nature of a negotiated writing project through the use of an initial writing contract (in weeks one and two)
- 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-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-2126: 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-2401: Practical Journalism: ELD (20) (Semester 1) The course will teach students media law and how to report on the workings of government. They will gain practical experience in reporting from courts, inquests and council meetings. They will also be taught how to write and research news and feature articles, interviewing techniques, and how to cover running stories and elections.or
UXC-2401: Newyddiaduraeth Ymarferol: MCD (20) (Semester 1)Bydd y modiwl yn dysgu myfyrwyr am gyfraith y cyfryngau a sut i ohebu am brosesau'r llywodraeth. Byddant yn cael profiad ymarferol o ohebu am achosion llys, cwestau a chyfarfodydd cyngor. Byddant hefyd yn dysgu sut i ymchwilio ac ysgrifennu erthyglau newyddion ac erthyglau nodwedd, technegau cyfweld a sut i ymdrin â straeon parhaol ac etholiadau.
- UXS-2800: Game Design Level & Mechanics (20) (Semester 1)
- UXS-2801: Game Development (20) (Semester 2)
- Some optional modules may be subject to pre-requisites, please check module page for further information.
40 credits from:
- QXP-3099: Creative Writing Dissertation (40) (Semester 1 + 2) This module involves the production of an extended piece of creative writing of high quality, with an attached ‘criticism in practice’ piece, an introduction to the work, and relevant bibliographic and ‘creative’ references. The focus of the dissertation is the piece of creative writing, which can be undertaken in any genre (after agreement with supervisor) and must be preceeded by a detailed (2 3 page) plan of work to be completed. The critical piece can be in a style similar to that of a critical literature essay, or it can be more focused on creative practice or the contextualisation of that creative practice, and can use the student’s own work as one of the reference points, as well as containing references to the work of other writers. The length of the dissertation varies according the genre and is the subject of discussion with the supervisor, but as a guide the total number of words for a prose fiction submission would be between 8,000 and 10,000 words. The deadline for submission of the dissertation is noon on Friday of week ten of semester two.
- UXB-3900: Research Dissertation (40) (Semester 1 + 2)
- UXB-3901: Creative Practice Dissertation (40) (Semester 1 + 2)
- UXB-3902: Enterprise Dissertation (40) (Semester 1 + 2)
20 to 60 credits from:
- UXS-3025: Stanley Kubrick: Auteur (20) (Semester 1) The enigmatic Stanley Kubrick was one of the most well-known filmmakers of the twentieth century. Although not prolific, his work was widely admired both by critics and mass audiences. Kubrick's films also provide a prism through which we can view the major events of the twentieth century including World War One, the Holocaust, the Cold War and the Vietnam War. In doing so, his films provide an opportunity to explore the key themes of science, technology, history, race, violence, gender, ethnicity, sexuality and war. Teaching is by means of a two-hour seminar per week. In addition, students are required to organise small-group viewing of designated films per week.
- 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-3050: Race & Gender (20) (Semester 2) Topics to be looked at will include, Senegalese Cinema, women in photography, race and gender in performance art, representing women on film, women and genre, Women and horror, women and action, Australian Visual Culture, Aboriginal female film makers, remembering the slave trade, post-colonialism, neo-colonialism and representation, how we define `white'.
- UXS-3062: Film Distribution & Marketing (20) (Semester 1)
- 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).
20 to 60 credits from:
- 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).
- UXS-3068: Wandering (20) (Semester 2)
- QXP-3093: Experimental Writing (20) (Semester 1)
- UXS-3401: Practical Journalism: ELD (20) (Semester 1) The course will teach students media law and how to report on the workings of government. They will gain practical experience in reporting from courts, inquests and council meetings. They will also be taught how to write and research news and feature articles, interviewing techniques, and how to cover running stories and elections.or
UXC-3401: Newyddiaduraeth Ymarferol: MCD (20) (Semester 1)Bydd y modiwl yn dysgu myfyrwyr am gyfraith y cyfryngau a sut i ohebu am brosesau'r llywodraeth. Byddant yn cael profiad ymarferol o ohebu am achosion llys, cwestau a chyfarfodydd cyngor. Byddant hefyd yn dysgu sut i ymchwilio ac ysgrifennu erthyglau newyddion ac erthyglau nodwedd, technegau cyfweld a sut i ymdrin â straeon parhaol ac etholiadau.
- UXS-3412: Playable Fiction (20) (Semester 2) The creative writer is constantly challenged by the evolution of literary form, striving to create fresh and original narratives that depart from the conventional. Modernism, postmodernism, and now digital media are all avenues of exploration and experimentation. This module focuses on the latter domain, as writers approach narrative through the creation of games. Story-games, such as hypertexts, interactive fictions, and visual novels, necessitate unconventional, and even unnatural, structures and perspectives. By creating playable narratives, students on this course will open their writing up to new expressions, forms, and genres. Students will discuss and explore critical and creative responses to these texts, applying new techniques and awareness to their creative writing practice.
- Some optional modules may be subject to pre-requisites, please check modules pages for further information.