Modules for course Q3WP | BA/ELFS
BA Eng Lang with Film Studs

These are the modules currently offered on this course in the 2018–19 academic year.

You can also view the modules offered in the years: 2017–18.

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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).
  • QXL-1110: Introduction to Language (20) Core
    The course provides an overview of a wide range of topics in the study of natural language, including: 1. What is language? 2. Morphology: words and their structure. 3. Phonetics and Phonology: language sounds and sound systems. 4. Syntax: sentence structure 5. Semantics and Pragmatics: meaning and context 6. Language variation. 7. Language change. 8. Language acquisition 9. Language pathologies 10. Language and the brain Furthermore, the course provides guidance on how to plan & write an essay as well as other assessment methods, and on how to prepare effectively for examinations.

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)
  • QXL-1117: Intro to Morphology & Syntax (20)
    The module will be split between the study of syntax and the study or morphology in the ration 60:40. 1. Morphemes: the parts of a word. 2. Types of affix and affix ordering 3. The productivity of affixation. 4. Word-formation without affixes. 5. Compounding 6. Syntactic classification: Parts of Speech and functional relations. 7. Syntactic structure and Immediate Constituent Analysis. 8. Recursion and the generation of syntactic structure. 9. Heads and their dependents 10. Syntactic relations within the sentence. 11. Relations between sentence types.

Optional Modules

40 credits from:

  • QXL-1113: Language and Society (20) (Semester 1)
    Sociolinguistic variability means that people use language in various different ways, depending on their social background and the current situation they are in. We will consider this phenomenon using three interrelated perspectives of studying variability: • Linguistic variables: Which aspects of the English language are variable? • Social (and regional) variables: How do speakers differ & which social aspects lead to using the English language in different ways? • Situational variables: When do speakers use which variants of English? Along these lines, the basic terminology used in this field will be introduced and employed for discussion, and empirical insights gained by sociolinguists will be examined critically.
    or
    QCB-1113: Iaith a Chymdeithas (20) (Semester 1)
  • QXL-1115: Intro to Phonetics & Phonology (20) (Semester 1 + 2)
    This class is an introduction to the phonetics of spoken languages, covering articulatory phonetics, acoustics, and introductory phonology. Areas covered include: anatomy of the vocal tract and terminology used to describe speech articulators, articulatory phonetics, with an emphasis on the International Phonetic Alphabet (IPA) and how to use it to transcribe speech, an introduction to acoustic theory as it relates to speech sounds, the nature of phonological patterns (alternation and phonotactics), melody and prosody, and the structural representation of speakers’ phonological knowledge. The knowledge and skills acquired here will be essential for many other modules and/or projects.
  • QXL-1116: Introduction to Meaning (20) (Semester 2)
    1. Introduction: What is semantics? Meaning - communication and significance. The semiotic triangle: mind language world and meaning. Lexemes. Sense / reference / denotation / connotation. 2. Semantics: Meaning - Word meaning and sentence meaning. Literal versus non literal. Utterance, sentences and propositions. Semantics and pragmatics 3. Meaning, Thought & Reality - Reference: types. Mental representations: concepts, necessary and sufficient conditions, prototypes, and relations between concepts. Linguistic Relativity. Thought & Reality. 4. Semantic Description - Words and grammatical categories. Words and lexical items, Lexical relations (homonymy, polysemy, synonymy, antonymy, hyponymy, meronymy) 5. Sentence Relations and Truth - Logic and truth, Necessary Truth, A Priori truth and Analyticity, Entailment and Presupposition. 6. Pragmatics: Making sense of each other linguistically - Context and Structure 7. Speech Act Theory & the Cooperative Principle 8. Politeness Theories 9. Critical Discourse Analysis 10. Intercultural Pragmatics
  • QCL-1145: Disgrifio'r Gymraeg (20) (Semester 2)
    • Rhannau ymadrodd y Gymraeg • Cystrawen a threfn geiriol sylfaenol y Gymraeg • Morffoleg sylfaenol y Gymraeg • Ffonoleg a seineg (h.y. sain) sylfaenol y Gymraeg a sut i drawsgrifio’r Gymraeg gan ddefnyddio’r IPA • Disgrifio Cymraeg ffurfiol o safbwynt ieithyddol • Cyflwyniad i ddisgrifio tafodieithoedd y Gymraeg mewn modd ieithyddol • Dylanwad y Saesneg ac ieithoedd eraill ar y Gymraeg (e.e. benthyg, ymyrraeth) • Cymharu’r Gymraeg ag ieithoedd lleiafrifol eraill • Dyfodol y Gymraeg o safbwynt gramadegol

Year 2 Modules

Compulsory Modules

Semester 2

  • UXS-2064: Film Theory (20)
  • QXL-2222: History of English (20) Core
    1. Studying the History of English. 2. The Sounds and Writing of English 3. Causes and Mechanisms of Language Change. 4. The Indo-European Language Family and Proto-Indo European. 5. Germanic and the Development of English. 6. The Sounds and Words of Old English. 7. The Grammar of Old English. 8. The Rise of Middle English: Words and Sounds 9. The Grammar of Middle English and the Rise of a Written Standard. 10. The Sounds and Inflections of Early Modern English. 11. Early Modern English Verbal Constructions and Eighteenth-Century Prescriptivism. 12. Modern English.

20 credits from:

  • 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).
  • 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: Contemporary Spanish Cinema (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-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-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).
  • WXK-2234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques. Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233) or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
    or
    WXC-2234: Cyfansoddi - Ffilm/Cyfryngau (20) (Semester 1 + 2)
    Amcan y cwrs yw rhoi'r medrau technegol a chreadigol angenrheidiol i fyfyrwyr er mwyn eu paratoi ym myd cerddoriaeth ar gyfer cerddoriaeth i ffilm, teledu a'r cyfryngau - maes o gyfansoddi sy'n llawn her ond yn bleserus iawn. Rhoddir cyfarwyddiadau ar feddalwedd a chaledwedd benodol (megis Logic Pro a sibelius), yn ogystal â sut i gydamseru delweddau â sain, defnydd allweddellau a pheiriannau samplo, a sut i gofnodi a chymysgu cerddoriaeth. Ar yr un pryd, cyflwynir darlithoedd ar bynciau sy'n ymwneud ag ymchwil, diwydiant a beirniadaeth ar arddulliau a genres cerddorol yn y cyfryngau. Dadansoddir enghreifftiau cerddorol o eiddo rhai o feistri'r ffurf, megis John Williams, Alexandre Desplat a Harry Gregson-Williams er mwyn i'r myfyrwyr gael dealltwriaeth o'r cyfrwng. Rhoddir sylw gweddol fanwl i'r goblygiadau ar fusnes a materion cyfreithiol. CO-REQUISITES: Gorau oll os oes gan fyfyrwyr brofiad o Cerddorfaeth (WXK2231 neu WXC2232) a Chyfansoddi (WXC2233 neu WXK2233) neu Gyfansoddi Acwsmatig (WXK2235), ond nid yw hynny'n orfodol.

Optional Modules

60 credits from:

  • QXE-2003: Jonson to Johnson (20) (Semester 2)
  • QXL-2201: Sounds and Sound Systems (20) (Semester 1)
    1. articulatory phonetics, 2. spectrographic analysis, 3. the interaction of melody and prosody, 4. the nature of phonological rules, 5. the structural representation of speakers’ phonological knowledge.
  • QXL-2202: Meaning, Mind and Truth (20) (Semester 1 + 2)
    1) Language, meaning and mind 2) Universals and Variation in Language, Thought & Experience 3) Embodiment and Conceptual structure 4) Encyclopaedic Semantics 5) Metaphor 6) Metonymy 7) Word meaning and radial categories 8) Mental Spaces and Compositional Semantics 9) Conceptual Blending 10) The semantic basis of grammar
  • QXL-2204: Morphosyntax (20) (Semester 2)
    This module provides an intermediate level framework in which to both study and apply key ideas, terms and concepts on the fields of morphology and syntax. There are two goals for this course. The first goal is to introduce students to more advanced ideas and principles central to the study of both morphology and syntax. The second goal is to provide students with the tools to apply the terms and principles to data / problem sets from a range of languages in order to conduct morphological and /or syntactical analysis. The lectures will provide students with the “big picture”, i.e. central ideas are summarized, important terms and principles defined and theoretical implications outlined. In the tutorials, students discuss key elements in detail and reflect on theoretical implications and apply the knowledge gained to cross linguistic examples and/or data sets. The following are representative topics: 1: Review: Introduction, word structure, types of morphemes. 2: Productivity, Inflectional morphology 3: Morphological mappings of grammatical function 4: Grammatical relations 5: Dependency relations 6: Constituent structure 7: Theories of syntax
  • QCL-2245: Ieithyddiaeth Gymraeg (20) (Semester 1)
    • Orthograffeg (sillafu) y Gymraeg • Agweddau canolradd o ffonoleg a seineg y Gymraeg • Agweddau canolradd o gystrawen y Gymraeg • Agweddau canolradd o forffoleg y Gymraeg • Agweddau canolradd o eirfa’r Gymraeg • Treiglo yn y Gymraeg • Agweddau canolradd o dafodieithoedd y Gymraeg • Creu ac astudio corpysau ieithyddol Cymraeg • Y Gymraeg yn y gymdeithas heddiw (e.e. ar y We, teledu) • Symud iaith, newid iaith a marwolaeth iaith o safbwynt gramadegol
  • QXL-2250: Functions of Discourse (20) (Semester 2)
    In the first part of this module we will focus on the theory of Systemic Functional Grammar (SFG) so as to grasp its basic mechanisms, and identify the main lexicogrammatical structures that are available to speakers of English. The second part will be dedicated to issues around discourse and context. We will look at theories and findings based on SFG, and analyse instances of discourse, exploiting theory to gain insights about the meaning and significance of specific linguistic choices for the discourse area they appear in. Along with theory and analysis, we will consider implications for English language education. Whilst lectures will provide the theoretical and conceptual foundations of SFG and SFG based discourse analysis, the tutorials will be used for discussion, case presentations, and exercises as appropriate for each week's topic. The following topics will be covered: 1. Introduction: SFG and its purposes 2. SFG theory: Clause as message – the textual function 3. SFG theory: Clause as exchange – the interpersonal function 4. SFG theory: Clause as representation – the ideational function 5. SFG theory: Above and below the clause 6. SFG theory: Around the clause – cohesion and discourse 7. Interpreting discourse: Approaches and findings using SFG tools 8. Working with discourse: Appraisal 9. Working with discourse: Ideation 10. Working with discourse: Conjunction and identification 11. Interpreting discourse at different levels of proficiency

Year 3 Modules

Compulsory Modules

Semester 1

  • QXL-3341: Dissertation (40) Core
    Topics vary depending on individual students choices, and the emphasis is on individual study. However, they relate to a wide array of issues in linguistics and/or English Language studies. However, classes will include: • How to formulate a research question • Producing a research proposal • Research methodologies • Statistics
    or
    QCB-3341: Traethawd Hir/Dissertation (40) Core
    Topics vary depending on individual students’ choices. However, they relate to a wide array of issues in linguistics and/or English Language studies.

Semester 2

  • QXL-3341: Dissertation
    Topics vary depending on individual students choices, and the emphasis is on individual study. However, they relate to a wide array of issues in linguistics and/or English Language studies. However, classes will include: • How to formulate a research question • Producing a research proposal • Research methodologies • Statistics
    or
    QCB-3341: Traethawd Hir/Dissertation
    Topics vary depending on individual students’ choices. However, they relate to a wide array of issues in linguistics and/or English Language studies.

40 credits from:

  • UXS-3006: Political Cinema & Television (20) (Semester 2)
  • 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: Catalan 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-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-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.
  • 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).
  • WXK-3234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques . Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233 or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
    or
    WXC-3234: Cyfansoddi - Ffilm/Cyfryngau (20) (Semester 1 + 2)
    Amcan y cwrs yw rhoi'r medrau technegol a chreadigol angenrheidiol i fyfyrwyr er mwyn eu paratoi ym myd cerddoriaeth ar gyfer cerddoriaeth i ffilm, teledu a'r cyfryngau - maes o gyfansoddi sy'n llawn her ond yn bleserus iawn. Rhoddir cyfarwyddiadau ar feddalwedd a chaledwedd benodol (megis Logic Pro a sibelius.), yn ogystal â sut i gydamseru delweddau â sain, defnydd allweddellau a pheiriannau samplo, a sut i gofnodi a chymysgu cerddoriaeth. Ar yr un pryd, cyflwynir darlithoedd ar bynciau sy'n ymwneud ag ymchwil, diwydiant a beirniadaeth ar arddulliau a genres cerddorol yn y cyfryngau. Dadansoddir enghreifftiau cerddorol o eiddo rhai o feistri'r ffurf, megis John Williams, Alexandre Desplat a Harry Gregson-Williams er mwyn i'r myfyrwyr gael dealltwriaeth o'r cyfrwng. Rhoddir sylw gweddol fanwl i'r goblygiadau ar fusnes a materion cyfreithiol. CYDOFYNION: Gorau oll os oes gan fyfyrwyr brofiad o Cerddorfaeth (WXK2231 neu WXC2232) a Chyfansoddi (WXC2233 new WXK2233) neu Gyfansoddi Acwsmatig (WXK2235), ond nid yr hynny'n orfodol.

Optional Modules

40 credits from:

  • QXL-3304: Language Contact & Bilinguals (20) (Semester 2)
    1. the dynamics of language contact, 2. bilingual acquisition 3. speakers’ minds as a locus of contact, 4. transfer effects in bilinguals, 5. language and social subordination, 6. language maintenance in minority language settings, 7. contact-induced language change.
  • QXL-3313: EFL Theory (20) (Semester 1)
    This module provides an overview of TEFL theory by examining a wide range of contexts in which language teaching and learning takes place. Topics will include the following: 1. The use of English within a global context. 2. Language awareness in the classroom. 3. English teaching methodologies. 4. Analysis of teaching English to speakers of other languages based on research articles and DVD material: affective factors and classroom interaction. 5. Implementing and evaluating curriculum change.
  • QXL-3317: First Language Acquisition (20) (Semester 1)
    This module provides an introduction to the study of language development. There are two goals for this course. The first goal is to introduce students to key findings and central debates in the study of language development. The second goal is to provide students with the tools to critically examine the existing literature. The lectures will provide students with the “big picture”, i.e. central topics are summarized, important studies discussed and open questions outlined. In the tutorials, students discuss key studies in detail and reflect on methodologies, results and implications. The following topics will be covered: 1. Early language development 2. Phonological development 3. First language acquisition: Syntactic development 4. Multilingual Acquisition 5. Theories of language development: Constructivist and mentalist approaches 6. Bilingual development 7. Language disorders 8. Developmental neurolinguistics
  • QXL-3320: SLA and Language Teaching (20) (Semester 2)
    The topics covered in this module would be the following: 1. Background to SLA Research 2. Individual differences in L2 users and L2 learners 3. L1 transfer: Code-switching and Second Language Learning 4. Theories of L2 acquisition 5. The role of age in L2 acquisition 6. The goals of language teaching and assessment 7. The L2 user and the native speaker 8. Embedding SLA research into Language teaching
  • QXL-3329: Teaching EFL (20) (Semester 1 + 2)
    This module provides an introduction to the teaching of EFL through practice and theory and by examining a range of contexts in which English language teaching and learning takes place. Topics will include the following: 1. The nature of EFL teaching contexts. 2. Methodologies employed in the EFL classroom. 3. The role of the teacher of EFL. 4. Strategies used teaching vocabulary, grammar, writing, speaking, reading & listening. 5. Factors affecting lesson planning and materials choice/design. 6. Reflective practice – evaluating teaching and lesson aims.
  • QXL-3343: Language and Communication (20) (Semester 2)
    1. Theories and models of communication 2. Principles of communication and miscommunication 3. Methods of discourse analysis 4. Modes of communication 5. Contexts and areas of communication 6. Public contexts (e.g., media, journalism, political, or scientific discourse) 7. Communication in the internet 8. Classroom discourse 9. Casual contexts 10. Situated and task-based interaction
  • QXL-3347: Language Change (20) (Semester 1)
    1) The History of Grammaticalization. 2) Lexicalization: Lexical Constructionalism. 3) Mechanisms of Change (Reanalysis and Analogy). 4) Pragmatic factors. 5) The Hypothesis of Unidirectionality. 6) Clause-Internal Morphological Changes. 7) Grammaticalization across clauses. 8) Grammaticalization in Situations of Extreme Language Contact. 9) Some Basic issues in Grammaticalization and Construction Grammar. 10) Idioms and Formulaicity.
  • QXL-3349: Psycholinguistics (20) (Semester 2)
    This module provides a basic overview of how the mind and the brain process language. There are two goals for this course. The first goal is to introduce students to key findings and central debates in psycholinguistic research. The second goal is to provide students with the tools to critically examine the existing literature. The lectures will provide students with the “big picture”, i.e. central topics are summarized, important studies discussed and open questions outlined. In the tutorials, students discuss key studies in detail and reflect on methodologies, results and implications. The following topics will be covered: 1: Introduction to Language Science and what is psycholinguistics? 2: Speech production and comprehension 3: Word processing 4: Sentence processing 5: Discourse processing 6: Reference and non-literal language 7: Language Acquisition 8: Reading 9: Bilingualism 10: Aphasia 11: Right Hemisphere Language Functions
  • QCL-3370: Agweddau ar Ddwyieithrwydd (20) (Semester 2)
    • Cymru a’r Gymraeg yn y cyd-destun dwyieithog • Diffinio dwyieithrwydd • Dwyieithrwydd unigol vs. dwyieithrwydd cymdeithasol • Caffael iaith mewn cyd-destun dwyieithog • Addysg ddwyieithog yng Nghymru a thu hwnt • Polisïau iaith yn y cyd-destun dwyieithog Cymreig • Cyfnewid côd o safbwynt cymdeithasol a gramadegol • Agweddau seicoieithyddol o ddwyieithrwydd • Agweddau pobl ar ddwyieithrwydd ac ieithoedd lleiafrifol • Newid iaith, marwolaeth iaith a dyfodol y Gymraeg
  • QXL-3375: Historical Linguistics (20) (Semester 1)
    This module explores the field of historical linguistics and philology from both a theoretical and a practical viewpoint. Students will learn about theories of language change and will learn to critically evaluate studies of historical language change. They will also acquire practical skills in identifying the origins of words and grammar in languages that they know. Lectures will introduce students to the big picture and will provide them with concrete and theoretical examples of the topics being discussed, while seminars will be an opportunity to go deeper into the topics in a student-led pedagogical manner. While the lecturer will provide examples of language change (etc.) from his own experiences, students will be highly encouraged to explore languages of their own choice that they find interesting so as to find their own examples of the kinds of changes being learnt about. The following topics will be covered in the lectures and seminars: • Introduction to historical linguistics and philology, and a history of the field • Etymology and exploring Proto-Indo European • Sound change • Semantic change • Syntactic and morphological change • Reconstructive analysis and the comparative method • Issues in Germanic Philology • Issues in Celtic Philology • Historical Linguistics versus contemporary Linguistics (issues in data collation/collection and analysis)