Modules for course W891 | MARTS/PW
MArts Professional 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.

You can also view the modules offered in the years: 2017–18; 2018–19.

Find out more about studying and applying for this degree.

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Year 1 Modules

Compulsory Modules

80 to 100 credits from:

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

Optional Modules

20 to 40 credits from:

  • UXS-1000: Issues in Media and Journalism (20) (Semester 2)
  • UXS-1062: Film Language (20) (Semester 2)
    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) (Semester 2)
    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-1063: Film History (20) (Semester 1)
    This module aims to provide students with an understanding of the link between film technologies, narratives, styles, genres, and subjects, and the societies in which film circulates. Lectures will introduce students to a range of important changes which have influenced the development of the filmic medium. The course will help students to situate the selected films in their cultural, , generic, and technological context. Lectures cover topics such as: Genre (Western, Screwball Comedy, Sport, Epic...), Narrative structure, Early Cinematic Milestones, The Introduction of Sound, Classical Hollywood Studio System, Asian Post-War Cinema, Italian Neo-Realism. Weekly screenings illustrate issues covered in lectures and associated readings, and will provide a case study for weekly workshops. Films/shorts to be screened may include: Le Voyage dans la Lune (Méliès, 1902), Man with a Movie Camera (Vertov, 1929), M (Lang, 1931), Blackmail (Hitchcock, 1929), Der Blaue Engel (Von Sternberg, 1930), Citizen Kane (Welles, 1941), Roma, Città Aperta (Rossellini, 1945), Rashomon (Kurosawa, 1950), Ladri di Biciclette (De Sica, 1948), À bout de soufflé (Godard, 1960), Memento (Nolan, 2000), There Will Be Blood (Anderson, 2007).
  • UXS-1065: Film Criticism (20) (Semester 1)
  • UXS-1066: American Television Drama (20) (Semester 2)
  • UXB-1120: Dyfeisio Theatr (20) (Semester 2)
    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 2)
    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.
  • UXS-1126: Animation Principles & Practic (20) (Semester 1)
  • UXB-1403: Perf. ar gyfer y Llwyfan & Sg. (20) (Semester 1)
    • 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 1)
  • UXS-1800: Game Studies (20) (Semester 1)
  • UXS-1801: Game Design 1 (20) (Semester 2)
  • Students may choose 40 credits from other Schools in the College of Arts and Humanities

Year 2 Modules

Compulsory Modules

60 credits from:

  • 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.

Optional Modules

60 credits from:

  • UXS-2038: Journalism and Risk (20) (Semester 1)
    This course starts by presenting and critiquing the concept of risk, and the development of the field of risk communication. It then examines two key theorists of the 'risk society', namely Ulrich Beck and Anthony Giddens, to explore sociological theoretical foundations that explain inter-relationships of risk, trust, expertise and mass-mediated communication. Building on this theoretical lens, it then moves to examine journalism, risk and trust, looking at patterns of risk reporting in different aspects of the press. In-depth analysis of specific risk issues and their journalistic communication are examined, ranging from health risks like 'mad cow' disease to security risks like terrorism.
  • UXS-2052: Radio: Theory and Practice (20) (Semester 1)
    The lectures will initially focus on the history of radio as a specific medium, with a particular focus on Wales and the UK, as well as a broader international perspective. Different radio production methods will then be examined, and subsequently different programme genres, with specific examples being studied. The theoretical aspects of the module culminate in a broad conceptual review of the nature of the medium and how this is changing in the digital age. The practical workshops will run concurrently, with the students revising and developing generic production skills at the beginning of the course, before planning, researching and producing their own individual productions. These will be informed by the study of production methods, genres and programmes introduced in the lectures.
    or
    UXC-2052: Radio Theori ac Ymarfer (20) (Semester 1)
    Bydd y darlithoedd yn canolbwyntio yn gyntaf ar hanes radio fel cyfrwng penodol, gyda sylw arbennig i Gymru a’r Deyrnas Unedig, yn ogystal â phersbectif rhyngwladol ehangach. Nesaf, fe archwilir amryw o ddulliau cynhyrchu radio, ac yna gwahanol fathau o raglenni radio, gan ddadansoddi enghreifftiau penodol. Bydd agweddau damcaniaethol y modiwl yn cael eu crynhoi yn derfynol gydag arolwg cysyniadol eang o natur y cyfrwng a sut mae hyn yn newid yn yr oes ddigidol. Bydd y gweithdai ymarferol yn cyd-redeg â’r darlithoedd, gyda’r myfyrwyr yn datblygu eu sgiliau cynhyrchu cyffredinol cyn iddynt gynllunio, ymchwilio a chreu cynyrchiadau unigol. Bydd yr astudiaeth o ddulliau cynhyrchu, mathau o raglenni a rhaglenni penodol yn y darlithoedd o gymorth i’r myfyrwyr gyda’r gwaith ymarferol.
  • UXS-2057: Documentary Filmmaking (20) (Semester 2)
    During the first half of the module students will be given formal instruction in both documentary theory and media practice. This part of the module will examine the ways in which theoretical viewpoints influence the work of practitioners. It will also give students instruction in advanced production techniques, building upon the techniques learnt as part of UXS 1038 Introduction to Media Practice. In addition, the workshop sessions held during the first part of the course will allow students to undertake pre-production work on their final projects, in consultation with the tutors. During the second half of the semester, students will not be expected to attend weekly timetabled sessions. Students will undertake independent study during this period, using the time to develop and produce their final production project. Tutors will provide support, by appointment.
    or
    UXC-2057: Cynhyrchu'r Ffilm Ddogfen (20) (Semester 2)
    Yn ystod hanner cyntaf y modiwl, caiff myfyrwyr hyfforddiant ffurfiol ar theori rhaglenni dogfen ac ymarfer y cyfryngau. Bydd y rhan hwn o'r modiwl yn edrych ar sut mae safbwyntiau damcaniaethol yn dylanwadu ar waith ymarferwyr. Bydd hefyd yn rhoi hyfforddiant i fyfyrwyr ar dechnegau cynhyrchu uwch, gan adeiladu ar y technegau a ddysgwyd fel rhan o'r modiwl UXS 1038 Cyflwyniad i Ymarfer y Cyfryngau. Yn ogystal â hyn, bydd y sesiynau gweithdy a gynhelir yn ystod rhan gyntaf y cwrs yn caniatáu i fyfyrwyr wneud gwaith cyn-cynhyrchu ar eu projectau terfynol, gan ymgynghori â'r tiwtoriaid. Yn ystod ail hanner y semester, ni fydd disgwyl i fyfyrwyr fynd i sesiynau wythnosol wedi eu hamserlennu. Bydd myfyrwyr yn astudio'n annibynnol yn ystod y cyfnod hwn, gan ddefnyddio'r amser i ddatblygu a chynhyrchu eu project cynhyrchu terfynol. Bydd y tiwtoriaid yn rhoi cefnogaeth, trwy apwyntiad.
  • UXS-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-2064: Film Theory (20) (Semester 2)
  • UXS-2076: Global News Agenda (20) (Semester 2)
    Topics that this module will discuss include: the CNN effect; manipulating global news agendas through public diplomacy; war, perception management and bearing witness through global media forms; reporting distant suffering; satellite news wars; the rise of satellite news in the Middle East and the possible rise of an Arab public sphere; and the impact of global news forms on censorship and resistance.
  • UXS-2099: Research and Methods (20) (Semester 2)
    Introduction; choosing a research topic Writing a research proposal Research Paradigms: Positivism vs Interpretivism Working with texts 1: Textual analysis Working with texts 2: Content analysis Fieldwork 1: Questionnaires, interviews and focus groups Fieldwork 2: Ethnography and participant observation Case study approaches Quantitative and qualitative sampling issues Research Ethics Doing a literature review; writing a dissertation
  • UXS-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-2800: Game Design Level & Mechanics (20) (Semester 1)
  • UXS-2801: Game Development (20) (Semester 2)
  • Students may choose 40 credits from other Schools in the College of Arts & Humanities Some modules may be subject to pre-requisites, please check module page for further information

Year 3 Modules

Compulsory Modules

40 credits from:

Optional Modules

80 credits from:

  • UXS-3038: Journalism and Risk (20) (Semester 1)
    This course starts by presenting and critiquing the concept of risk, and the development of the field of risk communication. It then examines two key theorists of the 'risk society', namely Ulrich Beck and Anthony Giddens, to explore sociological theoretical foundations that explain inter-relationships of risk, trust, expertise and mass-mediated communication. Building on this theoretical lens, it then moves to examine journalism, risk and trust, looking at patterns of risk reporting in different aspects of the press. In-depth analysis of specific risk issues and their journalistic communication are examined, ranging from health risks like 'mad cow' disease to security risks like terrorism.
  • 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-3052: Advanced Radio Practice (20) (Semester 2)
    The lectures will initially focus on the history of radio as a specific medium, with a particular focus on Wales and the UK, as well as a broader international perspective. Different radio production methods will then be examined, and subsequently different programme genres, with specific examples being studied. The theoretical aspects of the module culminate in a broad conceptual review of the nature of the medium and how this is changing in the digital age. The practical workshops will run concurrently, with the students revising and developing generic production skills at the beginning of the course, before planning, researching and producing their own individual productions. These will be informed by the study of production methods, genres and programmes introduced in the lectures.
    or
    UXC-3052: Ymarfer Radio Pellach (20) (Semester 2)
    Bydd y darlithoedd yn canolbwyntio yn gyntaf ar hanes radio fel cyfrwng penodol, gyda sylw arbennig i Gymru a’r Deyrnas Unedig, yn ogystal â phersbectif rhyngwladol ehangach. Nesaf, fe archwilir amryw o ddulliau cynhyrchu radio, ac yna gwahanol fathau o raglenni radio, gan ddadansoddi enghreifftiau penodol. Bydd agweddau damcaniaethol y modiwl yn cael eu crynhoi yn derfynol gydag arolwg cysyniadol eang o natur y cyfrwng a sut mae hyn yn newid yn yr oes ddigidol. Bydd y gweithdai ymarferol yn cyd-redeg â’r darlithoedd, gyda’r myfyrwyr yn datblygu eu sgiliau cynhyrchu cyffredinol cyn iddynt gynllunio, ymchwilio a chreu cynyrchiadau unigol. Bydd yr astudiaeth o ddulliau cynhyrchu, mathau o raglenni a rhaglenni penodol yn y darlithoedd o gymorth i’r myfyrwyr gyda’r gwaith ymarferol.
  • UXS-3068: Wandering (20) (Semester 2)
  • UXS-3074: Short film production (20) (Semester 2)
    The taught element of this course will provide students with advanced instruction in four elements of short film production  Video recording  Sound recording  Video editing  Sound editing and dubbing Supervisory sessions will be tailored to each group's individual needs, and will be mapped out at the beginning of the module, in consultation with each group's individual supervisor. Supervisors will provide students with consistent feedback on their work, and will co-operate with them to identify areas where there is a need for development, providing guidance on how each group, and each individual student, can improve their work through both guided tutoring and student-led learning.
    or
    UXC-3074: Cynhyrchu'r ffilm fer (20) (Semester 2)
    Bydd rhan hyfforddedig y cwrs yn rhoi uwch gyfarwyddiadau i fyfyrwyr am bedair elfen o gynhyrchu ffilm fer  Recordio fideo  Recordio sain  Golygu fideo  Golygu sain a dybio Bydd y sesiynau dan oruchwyliaeth yn cael eu teilwra at anghenion unigol pob grŵp a byddant wedi eu rhestru ar ddechrau'r modiwl, mewn ymgynghoriad â goruchwyliwr unigol pob grŵp. Bydd goruchwylwyr yn rhoi adborth cyson i fyfyrwyr am eu gwaith, ac yn cydweithio gyda hwy i ddynodi meysydd sydd angen eu datblygu, yn rhoi canllawiau am sut y gall pob grŵp, a phob myfyriwr unigol, wella eu gwaith trwy gael arweiniad tiwtor a dysgu dan arweiniad myfyrwyr.
  • UXS-3076: Global News Agenda (20) (Semester 2)
    Topics that this module will discuss include: the CNN effect; manipulating global news agendas through public diplomacy; war, perception management and bearing witness through global media forms; reporting distant suffering; satellite news wars; the rise of satellite news in the Middle East and the possible rise of an Arab public sphere; and the impact of global news forms on censorship and resistance.
  • UXS-3800: Game Design 3 (20) (Semester 2)
  • UXS-3801: Game Production (20) (Semester 1)
  • Some modules may be subject to pre-requisites, please check module page for further information

Year 4 Modules

Compulsory Modules

Semester 1

  • UXS-4038: Media, Culture & Creativity (30)
    This module encourages creative practitioners to situate their work within an academic context, as well as enabling researchers to engage with creative work as a form of academic enquiry. Students will explore the nature of creative research from the perspective of a number of disciplines, including science, psychology and the creative arts. The relationship between creativity and knowledge will be explored and creativity will be placed within a theoretical context that includes intention, innovation and practice. The process of creativity and the effect of research on creativity and practice will be explored. Students will have the opportunity to consider the research process, looking at elements, principles and theories of how creative and critical research correlate. Research design and methodology will be critically evaluated in order to assess the role of creative practice within research, looking especially at the types of research question for which creative practice is a suitable methodology, and how the consequences of the results of this research affect future actions. The module will prepare students, especially those going on to the Ph.D. or into employment in the culture and/or creative industries, with creative and critical self-consciousness, intellectual sophistication and scholarly confidence, whatever their specialist medium, period or genre.
  • UXS-4052: Research Design (30)
    Topics to be covered include: • Module introduction, choosing a dissertation topic and constructing a research question. • Constructing a literature search. Critical analysis of existing works. • Research Methodologies. • Quantitative Methodology. • Qualitative Methodology. • Ethical Issues in Research. • Structure, Argument and Analysis. • Sources of Primary Material. • Preparing an Research Plan. • Giving an Oral Presentation. • Bibliography and Referencing

credits from:

  • UXS-4099: Masters Dissertation (60) (Semester 3)
    The dissertation provides students with the opportunity to work with a specialist supervisor in the production of an extended piece of writing or practice. The work will, of necessity, go through a number of stages, and the supervisor will support the student in the effective revision of their work. The student will receive individual guidance. As well as developing high levels skills in rsearch and presentation, students will also develop important skills of self management.