You will complete the following compulsory taught module:
This module aims to develop your skills in research practices, including preparation and presentation of dissertations and theses. It supports the research planning for your dissertation/thesis.
By the end of the module you should be able to:
- Understand the requirement to construct a methodological framework for your topic
- Conduct web-based research
- Construct a bibliography and use a recognised style guide in citations
- Identify and analyse primary and secondary sources
- Demonstrate ability to present a detailed analysis of one text or idea as a case study
You will then select two optional modules, before the completion of a 20,000 word dissertation. Optional modules include:
Cold War Film
This module aims to examine films of the Cold War era c.1946-1965 and develop your skills in both film theory, and film history. It examines the political and economic context of the production of film, looking at issues such as political control via McCarthyism and the HUAC, and the economic demands that directed and constrained film production. You will then examine a series of films, in order to assess the extent to which film reflected or engaged with social, cultural and political debates of the time.
Death and the Moving Image
Death is everywhere and nowhere in contemporary Western culture. Corpses litter Hollywood film and vulnerability or violence propel most mainstream fictions, but the pain or banality of physical, or undignified, decline, or the dull ache of mourning, are rarely seen. This module investigates the representation of death, and its surrounding debates, across a range of cinemas, platforms, genres and aesthetic practices, to position it within both a socio-cultural and critical context. Through consideration of various forms and functions of the spectre of death, or of cinematic death itself, it explores their relationship to narrative, ideology and spectatorship.
Film and Television Authorship
This module investigates why it is that the concept of authorship is so different in relation to film (supposedly a director’s medium) and television (apparently a writer’s medium). This module explores, examines and challenges the concept of authorship in relation to film and television. It begins with analysis of the various traditions and examples of authorship in both media. It focuses on the emergence of ‘big name’ film directors in Hollywood cinema and continues by engaging with the Auteur theory: the notion that the film director should be considered the ‘author’ of a film as a writer is the author of a book. This theory is then challenged in analysis of specific writing on the subject as well as in close case studies and in-depth analysis of key filmmakers and television writers and their most important works. The module thus pursues an understanding of the tension between directorial autonomy, audience demands, critical expectations and the film and television industries. The idea of authorship, which is principally concerned with the status of the film director as an artist, is of fundamental importance in the field of film and television studies and, indeed, creative writing in relation to both media.