Giving you a critical and evaluative understanding of film within an interdisciplinary context, this programme encourages you to understand the role of film and cinema within a range of socio-cultural arenas. Forging the links between film theory and film practices, cultural politics and state or foreign policy, it will also allow you to assess the notion of film as a social process engaging with issues of representation, production and consumption.
The programme is modular and offers a structured approach that includes taught core and optional modules such as Cold War Film, Death and the Moving Image, and Postcolonial Film. Alongside this you will undertake training in research skills, culminating in an independently researched 20,000-word thesis.
You will gain a firm grounding in different approaches to the analysis of film, a broad knowledge of the history of cinema and developments in film theory, and the ability to evaluate these in relation to films and film cultures.
You will complete the following compulsory taught modules:
Film, Theory and Politics
This module examines the interaction between film, film theory and politics. It will provide you with a solid grounding in some of the critical debates of the discipline, and in related cultural issues central to its development and our focus on North American Film. As such, it will enable you to assess the impact of politics on various levels of film analysis and production: from the ideology of the classical apparatus and text to the race or sexual politics of Hollywood cinema, from the censoring of the Production Code era to the attempted radicalism of post-modern film practices.
By the end of the module you should be able to:
Demonstrate a critical understanding of 1970s film theory
Demonstrate the ability to analyse both classical and post-classical Hollywood cinema in terms of ideology, and race and sexual politics, and via textual and contextual approaches
Demonstrate an understanding of how legislation impacts upon film form and content, and how films position themselves outside of political convention
Research and use critically primary and secondary materials, including audio-visual material
Give a presentation, including the use of primary and secondary materials, demonstrating in-depth knowledge and application of film theory to interpret the ideological work of a single film example.
Research Skills and Methods
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
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
This module investigates the representation of death, and its surrounding debates, across a range of genres and aesthetic practices, to position it within a socio-cultural, historical, and critical context. Through consideration of the various forms and functions of the spectre of death, or of cinematic death itself, it explores their relationship to narrative, ideology and spectatorship.
This module offers students the opportunity to study postcolonial film from different historical and national contexts and via a range of geopolitical and technological shifts. It will explore the changing relationship between colonialism/imperialism and film through the course of the twentieth century and beyond. The module begins by interrogating cinemas of and as Empire with an emphasis upon Anglo-American history, its ‘imperial gaze’ and neo-colonial Hollywood. It moves on to explore various case studies of colonial, de-colonial or anti-colonial film (for example, Indian cinema, Third Cinema and Palestinian film) and to consider key related themes such as questions of diaspora (via Accented cinema) and of ‘human rights’ (via specialist film festivals and online activist video).
Contemporary American and European Cinema: Dialogues and Discourses
Twenty-first century cinema is as subject to global transformations as it is to regional tensions and is characterised by the relationship between the two. Few films, if any, are made in isolation for specific and exclusive audiences, but enter into discourses and dialogues with films and audiences from a great many elsewheres thanks to global distribution strategies, the Internet, and a voracious exchange of influences and legacies at many levels of production, distribution and reception. Beginning with Dogme ’95, the last great film movement of the twentieth century, which also marked the 100th birthday of cinema, this module explores the range and impact of filmmaking in America and Europe in the last twenty years. Ranging from mainstream movies (e.g. the original Bourne trilogy, Inception, The Lives of Others, The Red Squirrel, Gravity) to art-house cinema (e.g. 4 Months 3 years 2 days, Hidden, Before Sunset, Frances Ha), from experimental films (e.g. The Idiots, En la ciudad de Sylvia, Quiet City, 5x2, Waking Life) to the white noise of the Internet (Lonely Girl, Manic Pixie Dream Girl and many short films and ‘anonymous’ examples), while erasing the boundaries between each, this module seeks to contextualise, structure and examine the dialogues and discourses that make up contemporary cinema. It concludes with an appraisal of contemporary American and European cinema from many angles and incorporates investigation into numerous new ways of understanding, producing and watching films.
We charge an annual tuition fee. Fees for 2015/16 are currently as follows:
Home / EU £4,090 full-time; £2,045 part-time
Overseas: £13,195 full-time; £6,597.50 part-time
For part-time students, the above fee quoted is for year one only and tuition fees will also be payable in subsequent years of your programme.
Tuition fees can either be paid in full or by instalments.
Eligibility for Home/EU or Overseas fees can be verified with Admissions. Learn more about fees for international students
Learn more about postgraduate tuituion fees and funding.
Scholarships and studentships
Scholarships to cover fees and/or maintenance costs may be available. To discover whether you are eligible for any award across the University, and to start your funding application, please visit the University's Postgraduate Funding Database.
International students can often gain funding through overseas research scholarships, Commonwealth scholarships or their home government.
University of Birmingham graduates may be entitled to a fee reduction through the College of Arts and Law Alumni Bursary scheme.