Modules for course W6W8 | BA/PWF
BA Professional Writing & Film
These were the modules for this course in the 2017–18 academic year.
- 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)
- 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)
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-1004: History of Journal & Pub Sph. (20) (Semester 2) This course starts by presenting and critiquing Jurgen Habermas’ ideal of the public sphere. It then examines the various forces that he suggests constitute the public sphere’s corruption – namely the forces of propaganda, public relations, interest groups, neo-liberalism and market pressures. Taking a range of analytical perspectives (critical-theoretical, historical, political-economic and sociological) the rise of market-driven journalism will be examined, as will journalism’s struggle to establish its independence from the state and the state’s consequent attempts at manipulation and censorship. Throughout, a range of journalistic ideals, forms and practices, such as the radical press, objective journalism and investigative journalism, will be critically analysed and evaluated.
- 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 2) 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 2)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.
- UXS-1090: Media Culture (20) (Semester 2) Media Culture focuses on media developments paying attention to traditional media forms such as film, TV, radio and print media and on to digital media forms. The essence of this module is to consider the impact of media on society and the ways in which they have altered or affected society. This requires us to consider: how media affect that way we live, how we as people interact and communicate, what we make, how we experience places, and more broadly how changes in media positively and negatively make a difference in the world. More formally, this module addresses: affordances of a range of media forms, interrelationships between technology and society, political economy, identity and community, production, dissemination and ownership, communication and interaction, privacy, and the ideological implications of networked mediated culture in a co-creative media age.or
UXB-1043: Diwylliant y Cyfryngau (20) (Semester 2)
- UXB-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.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: Performing for Stage & Screen (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-1403: Performing for Stage & Screen (20) (Semester 2) or
UXB-1403: Performing for Stage & Screen (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.
- UXS-1800: Game Studies (20) (Semester 1)
- UXS-1801: Game Design 1 (20) (Semester 2)
40 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
- UXS-2025: Stanley Kubrick: Auteur (20) (Semester 1) Topics that will be covered in this module include all of Kubrick’s films, as well as how these intersect with events such as World War One, the Holocaust, the Cold War and the Vietnam War and such issues as science, technology, history, race, violence, gender, ethnicity, sexuality and war.
- 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).
40 to 60 credits from:
- UXS-2033: Practical Digital Journalism (20) (Semester 2) 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.
- 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-2078: Writing Genre Fiction (20) (Semester 2) Students will approach genre fiction from a creative & critical perspective, examining a particular genre across the semester as a series of case studies (e.g., speculative fiction). They will engage in reading and analyzing relevant texts, applying theory and understanding gained to their own creative project.
- UXS-2412: 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.
0 to 20 credits from:
- UXS-2041: Games and Virtual Environments (20) (Semester 2) In 'Games and Virtual Environments' you will investigate the lively contemporary field of computer/video games and virtual worlds. During the module you will define, discuss and analyse various types of games and virtual environments. You will investigate issues surrounding games narrative and ludology (the theory and philosophy of gaming) as well as look at various video game genres (e.g. 1st person shooters, adventures, civilisation and god games; online, platform and massively multiplayer games). You will also examine the social and psychological effects of playing computer games and learn to evaluate realistically the implications of game consumption with respect to education and entertainment. By the end of this module, you will have developed a broad theoretical and critical background to the analysis of games and virtual environments, and you will be familiar with empirical research methods used to evaluate consumer needs and behaviour.
- 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