BA Film Studies and English Literature


Attendance
Full Time
Award
Degree of Bachelor of Arts



UCAS Course Code
QW36
A-Level typical
ABB (2017/8 entry) See All Requirements
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This degree brings together two intertwined subject areas in which UEA has an outstanding reputation.

You'll benefit from our world-leading expertise as you explore key writers and traditions in English literature and a global range of cinema.

A first year covering all the essentials is followed by second and third years in which there's lots of choice, enabling you to specialise in the areas that interest you the most.
You can select from creative practice options such as film production or scriptwriting, and modules covering topics as diverse as the Hollywood studio system, animation, Gothic literature and Shakespeare's England, or look at the process of adapting literature for the screen, bringing your two degree subjects into dynamic dialogue.

Students develop many transferable skills on this degree, including high-level communication skills, team working, and self-management, all of which open up a wide variety of careers.

Overview

Our BA Film and English Studies degree brings together two intertwined subject areas in which UEA has an outstanding reputation.

You’ll benefit from our world-leading expertise as you explore key writers and traditions in English literature and a global range of cinema from the silent period to the present day.

A first year covering all the essentials is followed by second and third years in which there’s lots of choice, enabling you to specialise in the areas that interest you the most.

You can select from creative practice options such as film production or scriptwriting, and modules covering topics as diverse as the Hollywood studio system, animation, Gothic literature and Shakespeare’s England, or look at the process of adapting literature for the screen, bringing your two degree subjects into dynamic dialogue.

Students develop many transferable skills on this degree, including high-level communication skills, team working, and self-management, all of which open up a wide variety of careers.

Your Degree

Your degree in Film and English Studies begins with a year of compulsory modules designed to give you a broad understanding of the scholarly connections between the fields of Film Studies and English Literature.

As your degree progresses, you will have more optional modules, allowing you to build a degree that suits your aims and aspirations while attaining a deep understanding of both subjects. The final year also contains a dissertation, which is a project about film and literature that you get to design.

Across your degree, you will take part in screenings, lectures, seminars, practical workshop sessions and tutorials to help you learn a range of skills and get ready for a wide range of possible careers.

You will also have a Personal Advisor, an academic staff member who can give you specific advice about the modules you choose, give you pastoral support, and help you with careers advice. 

Year 1

The first year covers a range of theoretical and historical approaches to film and literature through a range of compulsory modules equally split between the two subjects. 

Year 2

In your second year you will study compulsory modules on research and film theory. These  will help you to develop your analytical and research skills ready for your final year.

You will also be able to select modules from a wide selection of film studies and literature, drama and creative writing options, covering shared topics such as adaptation, as well as a wide range of literary genres and diverse film studies topics including national cinema, gender studies and practically oriented modules from digital media to film and television production. You can also apply to take a media-focused internship in the creative industries.

Year 3

In your final year you will plan, research and undertake a dissertation of your choosing. You will also take modules that deepen your subject knowledge, from a broad selection of topics such as literary and film genres from noir to the gothic, or the study of film audiences and media industries, or more practically oriented modules such as creative writing or media production. 

Assessment

Our assessment methods are designed to test a variety of skills. We use a diverse range of assessments to ensure that you leave your degree with a broad set of skills. These include essays, creative writing projects, video projects, live TV shows, in-class presentations, reports, and examinations.

There is no final examination and your degree result is determined by the marks you receive in years two and three.

Want to know more?

Come along to an Open Day and experience our unique campus for yourself.

Study Abroad

Students who are enrolled on 3-year programmes in the Faculty of Arts and Humanities have the option of applying to study abroad at one of UEA’s Partner Universities, for one semester of the second year. Please see our Study Abroad website for further information and criteria.

Course Modules

Students must study the following modules for 120 credits:

Name Code Credits

ANALYSING FILM

Analysing Film is designed to provide you with techniques and methods that can be applied to the textual analysis of films, alongside core study and practical skills that will be used throughout your university career. The module will cover a range of formal features and frameworks including image and sound production (notably narrative, camerawork, editing, soundtrack), and their relationships with the ways in which films construct meaning. You will be expected to engage with the range of possible approaches to audio-visual analysis, and apply the ideas under discussion to diverse examples from film. Key study skills include use of the library and internet for research, note-taking, and the conventions of academic writing such as essay planning, referencing, and avoiding claims of plagiarism.

AMAM4009A

20

LITERATURE IN HISTORY 1

This is the main introductory module to the study of literature. It aims to help new students to read historically, by offering a range of models of the relationship between literature and history, explored through the study of selected historical and literary moments. The module is taught by a weekly lecture, with an accompanying seminar.

LDCL4008A

20

LITERATURE IN HISTORY II

Literature in History II shifts our attention to writing from the 19th century to the present. Although we are still interested in historical context, our focus turns to the history of an idea about literature. Literary realism, or the idea that the novel can, and should, reflect real life, will be our central concern: after establishing what literary realism is and why it was such an important idea in the 19th century, we will examine how writers might agree with, or react against literary realism at different times, and finish by exploring the possibility of literary realism now. The module will allow you a full semester to grapple with a key aesthetic debate about the novel, engage with it through literary and critical texts, and help you to think about the implications of the question of what a novel can - or ought - to do. The module will be taught by weekly lecture and seminar, both of which are compulsory.

LDCL4019B

20

STUDIES IN FILM HISTORY

This module provides an introduction to the history of film from the mid to late 20th Century, familiarizing students with key points of reference in the field. However, the module is also designed to familiarize students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history.

AMAM4021B

20

WHAT IS FILM HISTORY?

This module provides an introduction to the narrative history of film in the late 19th century and early 20th century, as it is commonly understood within Film Studies. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module will be taught by lecture, seminar and screening.

AMAM4023A

20

WRITING TEXTS

This module explores the culture and anthropology of writing, and addresses issues such as the differences between writing and speaking, between literary and non-literary texts, and the writer's relationship with readers. In weekly lectures and seminar groups, we will look at the writing process itself - drafting, revising, editing, translating - and will explore how and why texts come into being, and how they work to position the reader or to generate readerly interaction. The module is taught by a lecture, with an accompanying seminar.

LDCL4020B

20

Students must study the following modules for 40 credits:

Name Code Credits

FILM THEORY

This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as Andre Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Balazs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.

AMAM5030A

20

RESEARCHING MEDIA

The module is designed to provide students with the key concepts and methods necessary to devise and execute an independent research project whether using traditional academic methods or practice based research. As a result, it will cover the key processes involved in devising and focusing a research project, reflexively undertaking the research itself and writing up one's results. In the process, students will be shown how to position their work in relation to an intellectual context; devise the research questions that are practical and realistic; and developing research methods through which to address these questions. The module will be taught by lecture and seminar.

AMAM5025B

20

Students will select 40 - 60 credits from the following modules:

ENGLISH STUDIES, ENGLISH HISTORY AND LITERATURE MODULES INCLUDING CREATIVE WRITING

Name Code Credits

ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN

This module explores the rich dramatic and cinematic traditions of Shakespearean adaptation. It considers a range of adaptations, from the seventeenth-century versions of Macbeth, King Lear and Henry V to more recent film versions of Shakespeare's plays, examining the light that adaptive transformations may cast on both the original plays and on the different social and cultural circumstances of the new productions. The module focuses in particular upon cinematic adaptations of Richard III, Henry V, The Tempest, Romeo and Juliet, Macbeth and King Lear, though will also discuss many other examples from stage and screen. In seminars linked to weekly screening this module offers an introduction to the theory and practice of adaptation as well as an outline view of how to read Shakespeare on film.

LDCD5021A

20

ADVANCED ENGLISH I

Advanced English I and Advanced English II are free-standing modules. Students can choose to take the Autumn course (Sept-Dec) or the Spring course (Jan-Apr) only, or both courses. Both courses are designed for people who already have an advanced level of English (IELTS 6.5 or above/CEFR strong B2) and who want to develop their current skills to reach a more competent level. There will be a range of contemporary topics discussed and skills practised during the course. The programme may be modified from time to time in response to the needs and interests of the group and where necessary to deal with common grammatical, lexical and phonological issues in spoken and written English. Students may not enrol on this module if they already have a knowledge of English equivalent to 7.5/8.00 IELTS/C1/C2 CEF or above, ie, if they are a native speaker or near-native speaker of English.

PPLB5043A

20

ADVANCED ENGLISH II

Advanced English I and Advanced English II are free-standing modules. Students can choose to take the Autumn course (Sept-Dec) or the Spring course (Jan-Apr) only, or both courses. Both courses are designed for people who already have an advanced level of English (IELTS 6.5 or above/CEFR strong B2) and who want to develop their current skills to reach a more competent level. There will be a range of contemporary topics discussed and skills practised during the course. The programme may be modified from time to time in response to the needs and interests of the group and where necessary to deal with common grammatical, lexical and phonological issues in spoken and written English. Students may not enrol on this module if they already have a knowledge of English equivalent to 7.5/8.00 IELTS/C1/C2 CEF or above, ie, if they are a native speaker or near-native speaker of English

PPLB5044B

20

AUSTEN AND THE BRONTES: READING THE ROMANCE

This module considers texts by Austen and the Brontes in relation to a wide variety of literary and historical contexts: feminisms, colonialism, impact of war, the social status of the woman writer, representations of governesses, madness, mad women and mad men, rakes, foreigners and strangers. We investigate the forms of communication which seem to be offered by and in the romance novel and the ways in which the lives of these authors have been told and read as romances. Opportunities will be available to work on film versions and students will also have, as part of the formative assessment, the opportunity to produce their own piece of creative writing in response to the primary texts.

LDCL5035B

20

BEGINNERS' ARABIC I

This course is a pre-requisite to the study of Arabic language. It aims the mastery of the alphabet: the script, the sounds of the letters, and their combination into words. Also, it introduces basic Arabic phrases and vocabulary to help you have introductory conversations. The student will develop essential speaking, listening, reading and writing skills as well as a solid understanding of the structure of the language in Modern Standard Arabic (MSA). Some aspects of the Arab world and culture(s) are covered. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4029A

20

BEGINNERS' ARABIC II/IMPROVERS

This is the second part of a beginners' course in Arabic following on from Beginners' Arabic I (PPLB4029A). Students with a GCSE grade C or below (or equivalent experience) may join this module. Alternative slots may be available, depending on student numbers. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4030B

20

BEGINNERS' CHINESE I

This module aims to introduce Standard Chinese (Mandarin) to learners with no (or very little) experience with the language and to develop basic listening, speaking, reading and writing skills. Students speaking other varieties of Chinese (e.g. Cantonese) are not eligible for this module. Teaching will include pronunciation, vocabulary and basic grammar of Mandarin. Word processing and cultural topics will also be covered in class. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4034A

20

BEGINNERS' CHINESE II

A continuation of the beginners' course in Chinese. Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion

PPLB4035B

20

BEGINNERS' FRENCH I

This module is for students at beginners' level who have little or no prior experience of French (if you have a recent French GCSE grade C or above, or an international equivalent, then this module may not be appropriate for you). The module will develop students' reading, writing, listening and speaking skills. The aim is to equip them with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where French is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4013A

20

BEGINNERS' FRENCH I (SPRING START)

This module is for students at beginners' level who have little or no prior experience of French (if you have a recent French GCSE grade C or above, or an international equivalent, then this module may not be appropriate for you). The module will develop students' reading, writing, listening and speaking skills. The aim is to equip them with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where French is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4015B

20

BEGINNERS' FRENCH II

A continuation of the beginners' course in French (Beginners' French I). This module can be taken in any year, but not by final-year language and communication students. If you have a recent French GCSE grade B or above, or an international equivalent, then this module may not be appropriate for you. Alternative slots may be available depending on student numbers. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4014B

20

BEGINNERS' GERMAN I

This module is for students at beginners' level who have little or no prior experience of German. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where German is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4018A

20

BEGINNERS' GERMAN II

A continuation of the beginners' course in German (PPLB4018A). Students with a GCSE grade C or below (or equivalent experience) may join this module. This module cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4019B

20

BEGINNERS' GREEK I

This module is for students at beginners' level who have little or no prior experience of Greek. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Greek is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4036A

20

BEGINNERS' GREEK II

A continuation of Beginners' Greek I. Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4037B

20

BEGINNERS' ITALIAN I

This module is for students at beginners' level who have little or no prior experience of Italian. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Italian is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4038A

20

BEGINNERS' ITALIAN II

A continuation of the beginners' course in Italian. Students with a GCSE grade C or below (or completed A1 level from CEFR - Common European Framework of Reference) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4039B

20

BEGINNERS' JAPANESE I

This module is for students at beginners' level who have little or no prior experience of Japanese. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Japanese is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4040A

20

BEGINNERS' JAPANESE I (SPRING START)

This module is for students at beginners' level who have little or no prior experience of Japanese. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Japanese is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4042B

20

BEGINNERS' JAPANESE II

A continuation of the beginners' course in Japanese (Autumn or Spring). Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4041B

20

BEGINNERS' RUSSIAN I

This module is for students at beginners' level who have little or no prior experience of Russian. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Russian is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4043A

20

BEGINNERS' RUSSIAN II

A continuation of Beginners' Russian I. Students with a GCSE or A Level in Russian (or equivalent to A2 CEFR - Common European Framework of Reference) may join this module. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4044B

20

BEGINNERS' SPANISH I

This module is for students at beginners' level who have little or no prior experience of Spanish. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Spanish is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. This module is NOT open to students who have GCSE Spanish (or GCSE equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4022A

20

BEGINNERS' SPANISH I (SPRING START)

This module is for students at beginners' level who have little or no prior experience of Spanish. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Spanish is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. This is a repeat of module PPLB4022A for those who wish to start their course in the Spring. This module is not available to language and communication students. This module is NOT open to students who have GCSE Spanish (or GCSE equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4024B

20

BEGINNERS' SPANISH II

A continuation of the beginners' course in Spanish (Autumn or Spring). Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4023B

20

COMEDY AND THE ABSURD IN DRAMA

How and why does comedy work as idea and theatrical practice? This module explores comedy across time and place, going back to both classical comedy (Aristophanes) and the roots of commedia dell'arte, and continuing through Moliere and Wycherley in the seventeenth-century, Goldoni in the eighteenth, Oscar Wilde and Alfred Jarry in the 1890s, and into the twentieth century with Beckett, Ionesco, Stoppard, Orton and Fo. The module ends with Richard Bean's 2011 adaptation of Goldoni in One Man, Two Guvnors. We'll study the theory, practice and politics of comedy in drama, encompassing comedy as social critique, comedy of ideas, theatre of the absurd, farce as confrontation, carnival and the grotesque, comic bodies, clowning, metatheatre and theatricality. There may be opportunities to view some of the plays on film and to participate in some practical workshops. The main mode is seminar discussion. Assessment is by means of a group seminar participation, a scene analysis and a longer written project. Drama students may include a performance element as part of the assessment but this module is open to all.

LDCL5071B

20

CONTEMPORARY FICTION

This module aims to take an open snapshot of different modes of writing in the recent British scene, not a post-war history of the novel. We'll concentrate on more adventurous examples of contemporary fiction, looking at specific aspects of form and style, and thinking about how such aspects speak to broader matters of history and ideology. We'll also consider also what it might mean to be or to call oneself contemporary.

LDCL5069B

20

CREATIVE WRITING: INTRODUCTION (AUT)

An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 5 Creative Writing modules. The aim of the module is to get students writing prose fiction and/or poetry, using structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of work. At the outset students will be encouraged to write about 'what they know', drawing on notebooks, memories and family stories. Throughout attention will be given to the work of established authors, using exemplary texts both as a basis for discussion and as a stimulus to students' own writing. Along the way students will begin to develop an understanding of the craft of writing - the technical nuts and bolts. They will also acquire some of the disciplines necessary to being a writer - observation, writing in drafts, reading as a writer, submitting to deadlines, etc.

LDCC5005A

20

CREATIVE WRITING: INTRODUCTION (SPR)

An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 5 Creative Writing modules. The aim of the module is to get students writing prose fiction and/or poetry, using structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of work. At the outset students will be encouraged to write about 'what they know', drawing on notebooks, memories and family stories. Throughout attention will be given to the work of established authors, using exemplary texts both as a basis for discussion and as a stimulus to students' own writing. Along the way students will begin to develop an understanding of the craft of writing - the technical nuts and bolts. They will also acquire some of the disciplines necessary to being a writer - observation, writing in drafts, reading as a writer, submitting to deadlines, etc.

LDCC5004B

20

CREATIVE WRITING: POETRY (AUT)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test the range of their abilities as writers of poetry. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5003A

20

CREATIVE WRITING: POETRY (SPR)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test the range of their abilities as writers of poetry. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5007B

20

CREATIVE WRITING: PROSE FICTION (AUT)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test their abilities and potential as writers of prose fiction. It is not intended for beginners, or those with no experience of a formal creative writing environment. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. Aim: The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5001A

20

CREATIVE WRITING: PROSE FICTION (SPR)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test their abilities and potential as writers of prose fiction. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre, voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5006B

20

CREATIVE WRITING: SCRIPTWRITING (AUT)

WW84 STUDENTS TAKE THIS MODULE AND THE SPRING MODULE (LDCC5008B) AS COMPULSORY MODULES. STUDENTS ON OTHER PROGRAMMES MAY TAKE EITHER THE AUTUMN MODULE OR THE SPRING MODULE, BUT NOT BOTH. This module develops students' abilities to create and understand dramatic texts. Methods include structured exercises in writing drama and the exploration and analysis of a range of plays. Students may specialise in writing for stage/radio or film/television.

LDCC5002A

20

CREATIVE WRITING: SCRIPTWRITING (SPR)

WW84 STUDENTS TAKE THIS MODULE AND THE AUTUMN MODULE (LDCC5002A) AS COMPULSORY MODULES. STUDENTS ON OTHER PROGRAMMES MAY TAKE EITHER THE AUTUMN MODULE OR THE SPRING MODULE, BUT NOT BOTH. This module develops students' abilities to create and understand dramatic texts. Methods include structured exercises in writing drama and the exploration and analysis of a range of plays. Students may specialise in writing for stage/radio or film/TV.

LDCC5008B

20

CRITICAL THEORY AND PRACTICE

Through a combination of lectures and seminars, this module will explore the theory and practice of literary criticism from the origins of the study of English literature as an academic discipline to the present. In order to do this, we examine not only the work of literary critics and theorists, but also engage with developments in linguistics, economics, psychoanalysis and philosophy, tracing the ways in which these overlap with, and inform, literary study.

LDCL5031A

20

DEVISED PERFORMANCE

THIS MODULE IS RESERVED FOR STUDENTS ON W400, WQ43 AND WW84 ONLY. In this course, we will explore the concept of devised performance, in all of its various manifestations, and examine methods to develop devised theatre in the rehearsal room. Exploring the use of non-dramatic texts, thematic structures, storytelling, found text and abstract imagery, this class allows students to study and put into practice the devising techniques of companies such as the Wooster Group, Elevator Repair Service, Complicite, Kneehigh and SITI Company. You will learn about theories of narrative and dramatic structure, and experiment with a range of techniques used to generate material for performance outside of the traditional genre of the "playwright's theatre".

LDCD5053A

20

EIGHTEENTH-CENTURY WRITING

This module reads fiction, poetry, nonfictional prose, and drama of the eighteenth century, as a means with which to identify the dominant concerns of the epoch (class; gender; the politics of party; increasing secularisation), and to explore some of its debates (aristocracy versus middle class; prose versus poetry; classical or ancient versus modern or contemporary; religious versus secular). We read popular novelists, such as Eliza Haywood, Daniel Defoe, Jonathan Swift, Samuel Richardson, Laurence Sterne, and Henry Fielding; popular dramatists (Fielding especially); verse both well-known and more obscure (Pope, Gay, Smart); and excerpts from other contemporary sources (didactic, philosophical, political, religious). By the end of the module you will have acquired a knowledge of and sensitivity to the literary genres of the eighteenth century (novel, poetry, prose, drama); a knowledge of the political and cultural landscape; and a knowledge of the conditions of writing (print culture, the beginnings of literary criticism, the professionalization of literature).

LDCL5041A

20

EUROPEAN LITERATURE

This module examines examples of twentieth-century European writing (all read in translation). Rather than (merely) place writers in their national contexts, we will deal with topics, issues and formal experiments that complicate, sometimes transcend, national boundaries. In fact we will interrogate what 'European' might mean in relation to literature - where are the borders? Are continental Europeans fundamentally 'other'? And if so, how does this otherness manifest itself aesthetically, thematically, tonally and formally? We'll look at how writers from different countries frequently challenge the conventions of genre and the conventions of reading and interpreting. Among a range of important innovations (or continuities), we may explore varieties of 'European' modernism, New Objectivity, the absurd, the nouveau roman, noir, or magical realism. We will also ask how European writers have responded to the challenges, upheavals and catastrophes of the twentieth century and how they deal with the ethnic, religious and cultural diversity within Europe. The module includes a weekly lecture. Assessment is by means of an individually chosen project (3500 words) which is supported by individual and group tutorials, a dedicated guidance session and a formative proposal.

LDCL5033B

20

FROM PUSHKIN TO CHEKHOV: NINETEENTH-CENTURY RUSSIAN FICTION

This module offers students the opportunity to study some of the great works of nineteenth-century Russian fiction by authors such as Gogol, Turgenev, Tolstoy and Dostoevsky. Russian writers were convinced that their country's literature had been too dependent on European models and they set out consciously to create a distinctly 'Russian' tradition. What did this involve and why subsequently were the works of the authors like Dostoevsky and Chekhov received so rapturously when they became available in English translations at the beginning of the twentieth century? We will also examine this writing in its social, historical and political context, which raises questions regarding the significance of gender, censorship and empire.

LDCL5048A

20

I AM

RESTRICTED TO STUDENTS REGISTERED FOR COURSES Q300, Q3W8, QV31, QT37, W400, WQ43, WW84 ONLY. How do our literary choices inform our sense of self? What do our critical and theoretical interests say about our values and concerns? How do we make connections between our academic studies and the outside world? Using the rubric of Graduate Identity Theory as a starting point, this module allows you to explore notions of personal identity through engaging with a range of texts, from the literary and theoretical to journalism and online blogs. Our inquiry will focus on ideas concerned with notions of identity, self and subjectivity, which might include gender, class, race, sexuality, language and power; and you will have the opportunity to explore your thoughts through discussion, peer review, journaling, online blogging in addition to essay. The module will raise your level of self-awareness and help you to make confident claims, through academic pursuit, about who you are and what you can do. It will also build, in a practical way, on your employability skills.

LDCL5054A

20

INTERMEDIATE ARABIC I

An intermediate course in Arabic for those students who have taken Beginners' Arabic I and II or who have a GCSE in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5035A

20

INTERMEDIATE ARABIC II

A continuation of the intermediate course in Arabic (PPLB5035A). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5036B

20

INTERMEDIATE FRENCH I

This is an intermediate course in French and is intended for students who have enough pre-A-Level experience of French and wish to develop their knowledge to a standard comparable to A-Level / Baccalaureate / B1 in the European Reference Framework. The module is made up of three elements: Reading Comprehension, Listening Comprehension, and Grammar. While the emphasis is on comprehension, the speaking and writing of French are also included. The module is NOT available to students with AS or A-Level French /Baccalaureate / Level B1 in the European Reference Framework. This module can be taken in any year. (Alternative slots may be available depending on student numbers.) Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5150A

20

INTERMEDIATE FRENCH II

This is a continuation of PPLB5150A (Intermediate French I). This is an intermediate course in French and is intended for students who wish to develop their knowledge to a standard comparable to A-Level / Baccalaureate / B1 in the European Reference Framework. The module is made up of four elements: Reading Comprehension, Listening Comprehension, Writing and Grammar. This module can be taken in any year. (Alternative slots may be available depending on student numbers.) Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. The module is NOT AVAILABLE to students with AS or A-Level/Baccalaureate / Level B1 in the European Reference Framework. Students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5032B

20

INTERMEDIATE GERMAN I

An intermediate course in German for those students who have taken Beginners' German I and II or who have a GCSE or an AS level grade D (or below, or equivalent to A2 CEFR - Common European Framework of Reference) in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5151A

20

INTERMEDIATE GERMAN II

A continuation of Intermediate German I. Open for students with AS-Level (below grade C or equivalent to A2 CEFR - Common European Framework of Reference). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5033B

20

INTERMEDIATE GREEK I

An intermediate course in Greek for those students who have taken Beginners' Greek I and II or who have a GCSE in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs.

PPLB5157A

20

INTERMEDIATE GREEK II

A continuation of Intermediate Greek I. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5037B

20

INTERMEDIATE ITALIAN I

An intermediate course in Italian for those students who have taken Beginners' Italian I and II or who have a GCSE in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5039A

20

INTERMEDIATE ITALIAN II

An intermediate course in Italian for those with no more than GCSE, O-Level or Beginners' Italian. A continuation of Intermediate Italian I. Can be taken in any year. NB: orals are arranged separately. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5040B

20

INTERMEDIATE JAPANESE I

An intermediate course in Japanese for those students who have taken Beginners' Japanese I and II or who have a GCSE or similar qualification in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5060A

20

INTERMEDIATE JAPANESE II

A continuation of Intermediate Japanese I. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5061B

20

INTERMEDIATE RUSSIAN I

An intermediate course in Russian for those students who have taken Beginners' Russian I and II or who have a GCSE in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5158A

20

INTERMEDIATE RUSSIAN II

A continuation of Intermediate Russian I. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5038B

20

INTERMEDIATE SPANISH I

An intermediate course in Spanish for those students who have taken Beginners' Spanish I and II or who have a GCSE in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Students will attend a seminar and a one hour oral. This module is NOT open to students who have AS-level or A level Spanish (or AS-level or A level equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5152A

20

INTERMEDIATE SPANISH II

A continuation of Intermediate Spanish I. Alternative slots available depending on student numbers. This module is NOT open to students who have A-level Spanish (or A-level equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5034B

20

INTRODUCTION TO BRITISH SIGN LANGUAGE I

A beginners' course in British Sign Language assuming no prior or minimal knowledge of the language. It is designed to provide students with basic training in communication with deaf people and an awareness of life and culture in the deaf world. Teaching and learning strategies include the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. Assessment is based on a Sign Language conversation and one written assessment. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4031A

20

INTRODUCTION TO BRITISH SIGN LANGUAGE I (SPRING START)

A beginners' course in British Sign Language assuming no prior or minimal knowledge of the language. It is designed to provide students with basic training in communication with deaf people and an awareness of life and culture in the deaf world. Teaching and learning strategies include the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. Assessment is based on a Sign Language conversation and in-class assessments. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. More classes will be put on if demand for PPLB4032B is low. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4033B

20

INTRODUCTION TO BRITISH SIGN LANGUAGE II

A continuation of Introduction to British Sign Language I and Introduction to British Sign Language I (Spring Start). Teaching and learning strategies continue with the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. It is designed to provide students with a follow-on in their understanding awareness of life, culture and use of equipment in the Deaf World. Assessment is based on a Sign Language conversation and one written assessment. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4032B

20

LITERATURE AND PHILOSOPHY

This module will offer a series of different approaches to the question of how Literature and Philosophy can speak to each other as academic disciplines, demonstrating the breadth and diversity of the two fields, as well as acquainting students with the research in literary criticism and philosophy currently being pursued at UEA. As well as examining the ways in which literature can illuminate and trouble philosophical argument, it will explore literature and 'the literary' as a topic for philosophical analysis, and the kinds of thinking such a topic would demand. Setting literature and philosophy into dialogue in this way will engender a more capacious understanding of the particular philosophical issues, and literary techniques, under discussion. The course will allow students to develop an awareness of the limits and advantages of various modes of literary and philosophical expression, and to foster more sophisticated skills in both literary and philosophical criticism. The module will be made up of a lecture circus, with two weeks given to each lecturer on a particular topic related to their current research (there will be five in all, David Nowell Smith (module convenor) plus two from PHI and two from LDC). The seminars will discuss issues arising from these lectures, working with texts set by the lecturer. The module is compulsory for VQ53 English Literature with Philosophy students, but is also open for other students in the English Literature and Philosophy degree courses.

LDCL5072A

20

MEDIEVAL WRITING

This module aims to provide an introduction to the study of medieval literature. We shall explore together a range of medieval texts (the lyric, allegorical narrative, romance, fabliau, dream vision, 'mystical writing', 'life writing', moral fable, political verse), working slowly both to familiarise ourselves with the difficulties and differences of Middle English and to introduce the distinctive richnesses and complexities of medieval literature. The module falls into three basic parts. The first, which turns to works by Chaucer, Julian of Norwich, and Margery Kempe, is organised generically and topically: close reading of Chaucer's 'Clerk's Tale', 'Merchant's Tale', and 'The Book of the Duchess' and of excerpts from Julian's 'Revelations of Divine Love' and from 'The Book of Marery Kempe' will allow us to introduce medieval allegory, the play of the sacred and the secular in medieval culture, medieval dream vision, and the terms of affective piety and medieval visionary writing. The second and third parts then turn, in more sustained fashion, first to the 'Morall Fabillis' of Roberty Henryson, perhaps the finest poet of the fifteenth century, and to medieval Romance, concentrating on the remarkable poem, 'Sir Gawain and the Green Knight'.

LDCL5063A

20

METHOD AND MEISNER

Students will be given the opportunity to explore what it is to direct and act truthfully for the camera with the intention of drawing out the most exciting and edgy filmic performances. This will be done through two methods. One, a weekly Meisner scene class in which actors and directors will learn the craft of film performance and two, a weekly hands on film making class in which they will be given the skills to go off and film the scenes themselves in their cinematic form using digital cameras. The students will be taken through the technicalities of camera use, story boarding and the use of different shots to create the sense of the scene. Through the practical, hands on process of making short films, students will gain a general understanding of the process and techniques of film making and through the Meisner and Method techniques, start to build a creative tool kit that is appropriate to working for the screen. The module is for LEVEL 2 DRAMA students only: W400, WQ43, WW84.

LDCD5054B

20

MODERNISM

The purpose of this module is to study the literature of the early decades of the twentieth century - roughly 1900-1930 - in particular the work of those authors who attempted to break with received norms of literary style and content. The module is organised as a series of thematic and formal explorations that include attention to at least some of the following: the dissolution of character and gravitation towards psychological states such as fantasy and desire, with the emergence of the unconscious; narrative and temporal disruption, obtrusion of language and other sources of modernist difficulty, the afterlife of religion, as in interest in the unseen and supernatural; the significance of the city, the mass media, and other modern cultural forms; gender and the politics of modernism. The sequence of guiding lectures focuses discussion on a set of specific texts and themes, with their contexts, and these are taken up for consideration in the accompanying seminars. 'Modernism' is thus constructed gradually over the semester as a mosaic of closely related issues, each one reflecting on the others. As well as providing an overview of defining textual features, in prose and poetry, the module is concerned also with the critical reading of modernism in the light of contemporaneous criticism and theory as well as current analyses.

LDCL5045A

20

PERFORMANCE SKILLS: THE ACTOR AND THE TEXT

This module is reserved for Drama majors (W400), Drama/Literature Joints (WQ43), Scriptwriting and Performance (WW84), and Theatre Directing Masters students. Drama Minors wishing to apply must first seek approval for inclusion from Mr T. Gash. The main methods of study are through: (1) individual performance of poems and speeches, (2) scene classes, (3) character study of roles in classic plays.

LDCD5016A

20

POLITICAL THEATRE

This module examines the use of theatre and performance - by the State, by oppositional groups, by political activists and by theatre and performance practitioners - to solidify or challenge structures of power. The course looks at specific examples of how theatre and public spectacles have been used in the twentieth century to control or contest the political stage. Examining American, South America, African, Russian, and Eastern European performance in the twentieth century, this class will document and explore through specific performances, videos, dramatic texts and theoretical essays, how performance in theory and practice can be used to explore issues to race, ethnicity, gender, political upheaval and social change within a society.

LDCD5025B

20

POST A-LEVEL GERMAN 1/I

A basic module in post A-Level German (also open for students with AS-Level grade A, or equivalent to B1 CEFR - Common European Framework of Reference) consisting of revision and extension of selected areas of advanced grammar and reading and discussion of newspaper articles. Its aim is to develop competence in all areas of spoken and written German. (The module may contain a component of 'Business German': "International trade fairs in Germany", depending on student interest and enrolment.) This module is not available to native speakers or those with equivalent competence. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion

PPLB4020A

20

POST A-LEVEL GERMAN 1/II

A continuation of post A-Level German I consisting of revision and extension of selected areas of advanced grammar and reading of texts and discussion of relevant topics. Its aim is to develop competence in all areas of spoken and written German. (The module may contain a component of 'Business German', depending on student interest and enrolment.) Not available to native speakers or those with equivalent competence. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4021B

20

PUBLISHING (AUT)

The module will be conceptual as well as practical including discussions and exercises around the design, editing and publishing of a text and what constitutes an editorial policy. In the seminars students will be taught how to set up, run and market their own publications (a magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies. This course will be assessed by a portfolio. Three sessions of training on Indesign publishing software will be provided as part of the course. This module will suit students who wish to engage with publishing on a creative and intellectual level as well as learning useful employability skills.

LDCL5064A

20

PUBLISHING (SPR)

The module will be conceptual as well as practical including discussions and exercises around the design, editing and publishing of a text and what constitutes an editorial policy. In the seminars students will be taught how to set up, run and market their own publications (a magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies. This course will be assessed by a portfolio and a piece of coursework. Three sessions of training on Indesign publishing software will be provided as part of the course. This module will suit students who wish to engage with publishing on a creative and intellectual level as well as learning useful employability skills.

LDCL5065B

20

READING AND WRITING CONTEMPORARY POETRY

This module will focus on poetry written from the post-war context up to the present day. The poets studied will be drawn principally from an Anglo-American tradition and may include such writers as Frank O'Hara, John Berryman, Sylvia Plath, Elizabeth Bishop, Sharon Olds, James Tate, Yusef Komunyakaa, Carol Ann Duffy, Carolyn Forche among others. Using the reading and study of post-war poetry, students will be able to write creatively and/or critically for assessment. The module would build upon Creative Writing modules and also complement level two modules such as Modernism, and Poetry and Painting, as well as level three modules such as Lyric, Words and Music, Poetry After Modernism, and poetry dissertations. This module is open to Literature and English Literature with Creative Writing Students.

LDCL5073B

20

READING AND WRITING IN ELIZABETHAN ENGLAND

In this module we will study some of the most important poetry and prose of the English Renaissance, including masterpieces by Christopher Marlowe, Sir Philip Sidney, and Edmund Spenser, as well as Shakespeare's early narrative poetry (not covered on the Shakespeare module). We will be studying these writers in a unique way. Behind this great outpouring of Elizabethan writing lay a vibrant literary culture which valued rhetoric, argument, elaborate and often playful self-presentation, and which insisted that good reading helped you to develop an individual style as a writer. In response to your reading of Renaissance literature, you will put the tenets of this culture into practice, building up over the course of the module an assessment portfolio of short pieces of writing in prose (or sometimes, if you wish, poetry). When reading Sidney's groundbreaking 'Defence of Poetry', for instance, you will draw on his rhetorical and argumentative techniques to write your own defence of any modern genre of your choice. Or when looking at the way Thomas Nashe plays with the form of his printed books you will have the opportunity to experiment with innovative ways of presenting your own portfolio to readers. This module allows you to think critically in genres other than conventional academic essays, and in doing so aims to foster connections between critical and creative writing. You will have the chance to develop more confidence and self-awareness as a writer and critic through studying some of the greatest English literature. THIS MODULE FULFILLS THE PRE-1789 REQUIREMENT.

LDCL5062B

20

ROMANTICISM 1780-1840

Romantic Literature is often thought of as poetry, primarily work by Blake, Wordsworth, Shelley, Keats and Bryon. But the signs and forms of Romantic sensibility can also be found in a much broader constituency of writing practice: the novel, letter writing, the essay, political and aesthetic theory, and writing of all kinds taken as social critique. This module is taught through a combination of lectures and seminars.

LDCL5034B

20

SEVENTEENTH-CENTURY WRITING: RENAISSANCE AND REVOLUTION

This module introduces you to the poetry, drama and prose of one of Britain's most exciting and turbulent periods of cultural, political and intellectual transformation: the seventeenth century. The module works through lectures, which establish larger questions we might ask of the week's material, and seminars, in which we close read passages of texts together intensively. We begin in the early-seventeenth century by exploring the ways English writing was transformed by its encounters with classical texts and by religious experience, before turning to explore women writers' complicated relationship to early-modern literary culture. In the module's second half, we ask how literary forms were transformed by the extraordinary upheavals of the English civil war and the execution of the monarch. Throughout, we learn how knowledge of the circumstances of texts' publication and readership can help us to interpret literature. Authors we study include famous figures such as Ben Jonson, Andrew Marvell, and John Milton (including a look at his masterpiece, Paradise Lost), as well as many lesser-known writers, including women like Lucy Hutchinson and Amelia Lanyer, and Norwich's greatest writer, Thomas Browne. You will have the chance to read translations of several of the classical authors (including Horace and Martial) who influenced them. The module includes a visit to the Norfolk Heritage Centre (in the centre of Norwich) to see their remarkable collection of seventeenth-century books.

LDCL5042A

20

SHAKESPEARE

The aim of this lecture-seminar module is to help you become a better reader of Shakespearean drama. He was writing between about 1590 and about 1610; obviously his plays speak to us over a great cultural distance, and we can find fresh ways of reading them by exploring the theatrical, generic and historical frameworks in which they were written and staged. The lectures, then, will introduce a range of contexts, and the seminars will seek to turn them to account in the reading of the dramatic texts themselves.

LDCL5070B

20

THE DIRECTOR, THE ACTOR AND THE SCRIPT

THIS MODULE IS RESERVED FOR STUDENTS ON DEGREE PROGRAMMES U1W400302, U1WQ43302 AND U1WW84302 ONLY. APPLICATIONS FROM VISITING STUDENTS ON THEATRE DEGREE PROGRAMMES MAY BE CONSIDERED. What is the director's job? How best does the actor work with the director? How does the language of the one translate into a practicable understanding in the other? How much shared vocabulary is profitable to their dynamic? This module will explore the convergence and divergence of skillset and function in this most intimate of collaborations; we will seek to strip to their fundamentals the mechanics of the director-actor relationship, and then offer tools with which both director and actor can work, in ongoing exercise and scene studies. Students will gain a solid understanding of scene structure and analysis; integrate new acting tools; learn a healthy mutual respect for one another's function, and learn to navigate some of the subtleties in the communication between actor and director. This module is aimed at students who are seriously interested in furthering their command of practical work and all participants must be equally willing to both act and direct.

LDCD5055A

20

THE SHORT STORY (AUT)

What is a short story? What do short story writers have to say? What about short story critics and theorists? Is the short story a narrative in miniature? Or is there more to a short story than simply being 'short'? And why are critics so concerned with whether the short story is alive or dead? These are the kind of questions this module will investigate by asking you to think as a short story reader, theorist, critic and writer. Reading will be drawn from short story writers - and writing about the short story - roughly spanning the 19th century to the present, and from a range of cultural contexts. Our interest will not be to establish a history of the short story, but instead to explore the range of thematic preoccupations, changing definitions, and critical debates surrounding the form. Students will have the opportunity to respond to these questions in critical and/or creative forms of assessment. Writers studied might include Edgar Allan Poe, Katherine Mansfield, Julio Cortazar, Anton Chekov, Ali Smith and Ryunosuke Aqutagawa.

LDCL5074A

20

THE WRITING OF HISTORY

What makes a good history essay? What makes a good literary critical essay? How are they different? How do the disciplines of History and English Literature approach argument and evidence, narration and description? What are the generic, formal and stylistic expectations that govern academic writing in each of these disciplines? Some version of these questions will have occurred to any student attempting to meet the assessment criteria in a university degree. They are perhaps particularly pressing for students in a joint degree, where somewhat different approaches are required by each subject. This module brings historians, literary critics and creative writers into a multi-disciplinary conversation designed to explore the tensions as well as the continuities between history and literary studies. After an introductory week, the module divides into three week blocks, exploring three topic areas where the research and writing of UEA faculty members in both schools overlap. By asking faculty members from the two schools to investigate similar territory from contrasting perspectives, we will explore how very similar subjects and sources can be treated differently by different disciplines (and by different methodological orientations within those disciplines). Historians, literary critics and creative writers will give guest lectures that describe and analyse their research process and writing practice. There will also be some more theoretically driven weeks where the work of key philosophers and theorists of history - for instance Levi-Strauss, Lukacs, Sartre, Hartog and Kosseleck - will be read and discussed. Students are encouraged to reflect on their own approaches to the writing of history, literary criticism and creative writing. In their summative coursework, students will answer focussed questions about history writing as a genre, analyse different approaches to the writing of history, and/or consider areas where the approaches of history, historical fiction and literary criticism might be thought to overlap or, conversely, be in conflict.

LDCL5077A

20

THE WRITING OF JOURNALISM (AUT)

The Writing of Journalism is concerned with journalism as a practice, and a genre. By examining different types of writing involved in a range of journalism, including short news stories, running stories, online journalism, reviews, and feature writing (including interviewing), we will identify and develop the skills needed to produce these. In addition to writing journalism themselves, students will examine journalistic writing and critical work about issues in the writing of journalism to probe and challenge their own ideas and assumptions about the practice and production of journalism. Rather than see the practice of journalism and the critical study of journalism as distinct activities, this course aims to engage students as critical readers and writers whose work is informed by both contexts. In so doing, students will gain a greater understanding of the demands and conventions of journalistic writing, develop and sharpen their own work, and gain the discursive flexibility to navigate the writing of journalism today. The module demands a high level of participation, as it is based on discussion, peer-workshops, and practical experience of reading and writing news and feature articles. Regular writing and participation in workshops count towards assessment. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.

LDCC5013A

20

THE WRITING OF JOURNALISM (SPR)

The Writing of Journalism is concerned with journalism as a practice, and a genre. By examining different types of writing involved in a range of journalism, including short news stories, running stories, online journalism, reviews, and feature writing (including interviewing), we will identify and develop the skills needed to produce these. In addition to writing journalism themselves, students will examine journalistic writing and critical work about issues in the writing of journalism to probe and challenge their own ideas and assumptions about the practice and production of journalism. Rather than see the practice of journalism and the critical study of journalism as distinct activities, this course aims to engage students as critical readers and writers whose work is informed by both contexts. In so doing, students will gain a greater understanding of the demands and conventions of journalistic writing, develop and sharpen their own work, and gain the discursive flexibility to navigate the writing of journalism today. The module demands a high level of participation, as it is based on discussion, peer-workshops, and practical experience of reading and writing news and feature articles. Regular writing and participation in workshops count towards assessment. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.

LDCC5014B

20

THEATRES OF REVOLT: NINETEENTH-CENTURY EUROPEAN DRAMA

Beginning with Ibsen and Strindberg, this module examines the development of modern forms of drama during the nineteenth and early twentieth centuries, addressing modern concerns - self and society, gender, sexuality, social and class conflicts, creation and destruction, the unconscious - and deploying experimental types of theatre by a range of writers including Chekhov, Maeterlinck, Wilde, Hauptmann, Buchner and Wedekind, as well as the two seminal Scandinavians. We will be looking at versions of Naturalism, Symbolism and Expressionism as modernist modes in drama and suggesting ways in which these shape and anticipate later developments. The main mode is seminar discussion with opportunities to experience the play texts as performances. You may choose to include a performance element as part of your assessment.

LDCL5030A

20

VICTORIAN WRITING

This module aims to equip you with a knowledge of writing from across the nineteenth century, in a variety of modes (fiction, poetry, science, journalism, cultural criticism, nonsense). We will examine authors such as George Eliot, Tennyson, Dickens, Darwin, Arnold, Charlotte Bronte, and the Brownings. You will thus develop an awareness of how different kinds of writing in the period draw on, influence, and contest with each other. Likewise, you will acquire a sense for the cultural, political and socio-economic contexts of nineteenth-century writing, and some of the material contexts in which that writing took place (serial publication, popular readership, periodical writing, public controversy).

LDCL5067B

20

WORDS AND IMAGES

The module aims to explore the relationship between words and images in contemporary literature. As well as developing a critical vocabulary with which to discuss how these two media can be combined, the module will survey shifts in the generic conventions of such literature over the last few decades so that students will develop an awareness of the various narrative techniques that such texts employ and be able to discuss these aspects in an informed and critical manner. The theoretical approach will consider narrative, ekphrasis, and critical work in the area by Scott McCloud, Perry Nodelman and Ivan Brunetti, amongst others. The module will analyse established texts by writers and artists such as Art Spiegelman, Alan Moore and Joe Sacco as well as more recent texts. Students will be assessed through critical and/or creative engagement. The module will build upon the level one Writing Texts module and will complement Words and Music and Children's Literature at level three.

LDCL5068B

20

WORKING WITH WORDS

This module offers students the opportunity to develop both critical understanding and practical skills in writing and the communication of ideas within and for professions in the creative industries, and to gain an appreciation and knowledge of the sector and its place in the creative economy. Through a combination of lectures, masterclasses, seminars and workshops, students will be exploring both the form and context of writing within the publishing industry, journalism, film and broadcast, new media writing (digital content, blogging), and other forms of writing within the creative industries. The module is closely aligned to 'Working with Words', the annual, UEA-based student conference that explores communication and writing in the workplace. Both formative and summative assessments will be informed by this event, and therefore attendance will be compulsory. Students will also participate in a project supporting a live, national website, 'After English' hosted and managed by UEA. Selections of writing produced in the module will be uploaded to this site. The module demands a high level of participation and students will be expected to engage in regular writing exercises, individual and group research and project work. Students will be expected to undertake a summative project which requires them to research a specific area of practice in the creative industries sector, create examples of written work pertinent to this, and reflect on their own development. This module is designed for students who are interested in exploring their own career identity as 'writers' but are prepared to scrutinise and contextualise this identity through wider industry and career research and practice.

LDCL5078B

20

WRITING THE WILD

It is a popular conception that writing about the natural world and its fragility is a particular fixation of the late twentieth and early twenty first century. However, concern about the natural world and man's place in his environment became a major preoccupation in the eighteenth century. Writing the Wild asks to what extent nature writers in our period may be read as being in dialogue with their eighteenth century predecessors. Texts will be predominately non-fiction and will give students the opportunity to study the less familiar writings of such authors as Mary Shelley, Mary Wollstonecraft, Jane Austen and Edward Thomas alongside contemporary nature writing by Richard Mabey, Robert Macfarlane, Kathleen Jamie and Tim Dee. Topics will include: nostalgia, the impact of war on writing about the countryside, the relationship between nature, writing and the mind and the notion of 'landscape'. This module offers students the opportunity to write 'creatively' as well as 'critically'.

LDCL5059B

20

Students will select 0 - 40 credits from the following modules:

FILM STUDIES MODULES. If you have selected 60 credits from options range A, you can only select 20 credits from this options range.

Name Code Credits

ANIMATION

Animation is one of the most popular and least scrutinised areas of popular media culture. This module seeks to introduce students to animation as a mode of production through examinations of different aesthetics and types of animation from stop motion through to cel and CGI-based examples. It then goes on to discuss some of the debates around animation in relation to case study texts. Example debates include: who animation is for (children?), the limits of the term "animation" in relation to CGI, the industrial frameworks for animation production (art vs commerce) and character vs star debates around animation icons. A range of approaches and methods will therefore be adopted within the module, including political economics, cultural industries, star studies and animation studies itself. The module is taught by seminar and screening.

AMAM5024A

20

DOCUMENTARY: HISTORY, THEORY, CRITICISM

This module will introduce students to the key issues in documentary history, theory and criticism. It will address definitional and generic debates; ethical issues; historical forms and founders; different categories, models and expository and poetic modes of documentary filmmaking; and social and political uses and debates. It will draw upon case studies from a range of different national and media contexts and give students grounding in key historical, methodological and ethical debates that they can draw upon in their future written and practical work.

AMAM5045A

20

FILM GENRES

Film Genres introduces students to the range of theories and methods used to account for the prevalence of genres within filmmaking. The module investigates historical changes in how film genres have been approached in order to consider how genres have been made use of by industry, critics and film audiences. Genre theories are explored through a range of case studies drawn from one or more of a range of popular American film genres that may include the Western, melodrama, romantic comedy, the road movie, the buddy movie, film noir, the gangster film, the war film and action/adventure film. In exploring concepts and case studies relating to film genres the module aims to demonstrate the impact of genres within contemporary culture.

AMAM5033A

20

RECEPTION STUDIES: HISTORY, THEORY AND TRANSCULTURAL CONTEXTS

This module will introduce students to the key theoretical frameworks and approaches within the tradition of reception studies. It will offer a critical exploration of the main debates and studies that have shaped the field, exploring both historical and contemporary contexts of media reception. In particular, in will consider the transcultural circulation of media, and the issues that arise when film, television and other media transfer between cultures with significantly different values and modes of reception. The module will encourage students to critically evaluate existing reception studies and equip them with the tools necessary to undertake their own small-scale reception study.

AMAM5035A

20

THE HOLLYWOOD STUDIO SYSTEM

This module will develop students understating of how silent-era, classical and post-classical Hollywood has developed as an industry, balancing the twin demands of creativity and commerce. The module will encourage students to analyse how Hollywood works as an industry, the kind of films it produces, and the ways in which they are consumed by domestic and global audiences. Students will engage with a variety of Hollywood films and be introduced to a range of theories and approaches for analysing how they are produced and consumed.

AMAM5042B

20

THE PAST IN BRITISH FILM AND TELEVISION

Literary adaptations, historical epics, war films, period dramas, documentaries, bio-pics and sitcoms: British cinema and television feature a range of styles and genres that deal with and represent 'the past'. This module examines the prominent position that historical narratives have occupied within British media culture of the last century. Their enduring popularity of 'the past' as a topic and mode of address among both filmmakers and audiences raises a range of aesthetic, ideological and practical issues. What techniques and conventions do they use to depict the past? What visions of the British past do they offer? What pleasures do they provide for their audiences? How important are foreign audiences and investment? Do narratives about the past provide escapist entertainment, or do they enable media practitioners (and audiences) to address contemporary concerns? Drawing upon a range of media, the module examines the depiction of the past in British film and television from the 1930s to the present. The module is taught by seminar and screening.

AMAM5044B

20

THEORISING TELEVISION

This module explores some of the key ways in which television has been theorised, conceptualised and debated. It will offer students insight into how the discipline of Television Studies has developed, as well as how television itself has developed - in terms of social roles, political functions and aesthetic form. A key interest will in be what television is for, for nations, societies, individuals and/or communities.

AMAM5047A

20

Students will select 0 - 20 credits from the following modules:

FILM STUDIES WITH PRACTICE. If you have selected 80 credits from options ranges A and B, you cannot select further credits from this options range.

Name Code Credits

ADAPTATION AND TRANSMEDIA STORYTELLING

This module will introduce students to the key theories of screen adaptation and transmedia storytelling, from the earliest ideas of 'fidelity' to the source, to later approaches emphasising intertextuality, and the movement of narratives across different media. It will enable students to examine a series of different examples of narrative adaptation across media and transmedia contexts. Through the module's engagement with screenwriting practice, it will also enable students to explore the processes of adaptation from within, through working on their own screenplay exercise adapting an existing work.

AMAM5038B

20

DIGITAL MEDIA: THEORY AND PRACTICE

This module introduces students to the practical and theoretical study of representing media in digital form. By exploring the historical and contemporary aspects of various media, including text, audio-visual, creative software and games, it considers how the shift to digital has affected media production and consumption. Students will gain awareness of the technologies which underpin digital media, the interfaces for delivering media online, and the cultural and social aspects of digitisation. The module also covers the issues surrounding media archiving, reproduction and restoration in a digital age and the problems associated with ephemerality, future proofing, metadata philosophies and a study of digital media futurology. By the end of the module, students will be able to evaluate digital media in their contemporary and historical contexts, and understand the principles which influence the digital remediation of media forms. Students will be supported in gaining hands-on experience of the process of creating digital media, and use these creations to support the intellectual objectives of the module. These practical sessions will introduce students to: digitisation of text and images; digital asset management and metadata creation; image processing; digitisation of audiovisual media; and creating basic games. Each of these sessions will serve to illuminate particular theoretical issues, allowing students to develop the skills to understand the cultural and social impact of digital media.

AMAP5124B

20

FILM AND VIDEO PRODUCTION

This module introduces the student to the grammar of film and television, particularly questions of narrative, storytelling, framing, composition, movement, editing, sound and lighting. In so doing, it will encourage students to engage in creative practices, in which they can experiment with these elements of filmmaking (elements that they will have already explored in Analysing Film / Analysing Television) and so gain a deeper and more practical understanding of how film language makes meaning. Furthermore, it will encourage them to understand the choices and decision making processes involved in creative practice and the pros and cons involved in any creative decision.

AMAP5123A

20

GENDER AND THE MEDIA

Providing a conceptual overview of feminist research methods, this module examines the role of media in constructing - and challenging - contemporary gender relations and understandings of a range of femininities and masculinities. The module explores both theoretical and methodological issues and covers theoretical approaches from feminist media studies, cultural studies, gender studies and queer theory. It explores a range of media and visual cultures including television, magazines, sports media, music, digital media culture, etc.

AMAM5031A

20

POPULAR MUSIC

This module encourages students to explore the ways in which popular music has been understood by scholars in the field of media and cultural studies. The module will examine the debates over popular music industries, texts and audiences, and incorporate an exploration of a range of popular musical forms, including folk music, rock, pop, rap and/or hip-hop, and dance music cultures. It will also examine the relations of popular music to other media, such as television and the internet.

AMAM5046A

20

PROMOTIONAL CULTURE

The advertising and PR industries are central to public life: in business, politics and culture. Branding strategies reach into our intimate lives, whether this is through the ways that we promote ourselves in social media or how corporations collect, analyse and sell our data for marketing purposes. The purpose of this module is to introduce students to these developments, their histories, and the key ethical and political debates that surround them. It may include how PR has informed politics and ideology since the 1920s, through the rise of the advertising in 1960s Manhattan, to today's flow of brands across digital platforms. It may look at the promotional cultures surrounding the film and television industries, including product placement, corporate sponsorship, celebrity. It could examine the ways in which we are encouraged to become micro-celebrities, using promotional techniques online and offline in order to market ourselves in an increasingly visual and commercialized culture. It may ask to what extent brands are integral to our social lives and subjectivities, how far they forge intimate relationships with and between users. It will use case studies that may touch on vlogging, selfies, viral marketing, and issues or controversies affecting the promotional cultures such as sexualisation, corporate social responsibility, greenwashing, sustainability, and surveillance.

AMAM5049B

20

SOUND MEDIA: INTERPRETATION, RECORDING AND PRODUCTION

No previous experience of sound - related study or any technical experience is required to take this module. This module introduces the student to the recording and production of sound-related media with an emphasis on the creative and contextual use of sound in contemporary academic research and practice. The study of the peculiarities of interpretation of audio-related media will both inform and be informed by the more practice-based activities of sound recording, distribution and production. At the end of the module students will be have#Developed a thorough understanding of the physical nature and creative use of sound via a rigorous practice- based academic study of the production of audio-related media#Gained an understanding of the methods of interpreting and analysing audio#Gained relevant skills, via a series of formative and summative coursework and practice, to support the above study.

HUM-5006B

20

TELEVISION STUDIO PRODUCTION

AVAILABLE ONLY TO STUDENTS TAKING UG AMA-FTM as a MAJOR and ON the FOLLOWING PROGRAMMES: U1G450302, and U1WV63302 This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product. PLEASE NOTE - This module needs a minimum of 12 students enrolled to run, if the target enrolment is not met there is a chance the module will be withdrawn.

AMAP5119B

20

Students must study the following modules for 30 credits:

Name Code Credits

FILM, TELEVISION AND MEDIA STUDIES DISSERTATION (SPRING)

AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36302, U1TW76302, U1TW76402, U1W610302, U1WV63302, U1P300303 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film, Television and/or Media Studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.

AMAM6080B

30

FILM, TELEVISION AND MEDIA STUDIES: DISSERTATION (AUTUMN)

AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36302, U1TW76302, U1TW76402, U1W610302, U1WV63302, U1P300303 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film, Television and/or Media studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also AMAM6080B - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.

AMAM6079A

30

Students will select 30 credits from the following modules:

FILM STUDIES MODULES

Name Code Credits

CELEBRITY

The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g. gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.

AMAM6090B

30

CREATIVE WORK IN THE MEDIA INDUSTRIES

This module offers students the opportunity to gain an understanding of the industries that many of them may well wish to work in. The media industries are those that produce culture, and so they naturally include television, film, music, publishing (books, newspapers and magazines) and so on. People often want to work in the media since this kind of work offers opportunities to be 'creative', to think independently and engage in activities which interest them already. But what does 'creativity' mean in different kinds of media work and what kind of conditions do those working in the media typically face? To explore such questions, we reflect on changes in the nature of work itself in modern societies. That is, when so much modern work is either temporary and precarious, with many in advanced industrial countries working longer hours than ever before, is there a danger that work is detracting from the quality of our lives rather than enhancing it? The module explores the potential to find pleasure, fulfilment (and a steady income), as well as pressure, frustration and precariousness in media work.

AMAM6086B

30

GENDER AND GENRE IN CONTEMPORARY CINEMA

This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.

AMAM6062B

30

INVESTIGATING AUDIENCES: PARTICIPATORY CULTURES and IMMERSIVE MEDIA

Students will investigate changing audience practices and cultures in the age of media convergence. It will introduce some of the key research on, and theoretical debates around, audience practices in relation to changes in distribution, technology and evolving forms of engagement. The module will study social practices and fan cultures surrounding stereoscopic technologies, transmedia storytelling, branding, streamed media, event cinema, theme park attractions and other participatory cultures. Investigating Audiences will enable students to expand their critical and analytical skills, and also to develop their abilities as an audience researcher. They will evaluate and assess published academic writing on audience research methodologies, which will then enable them to exercise critical judgement in the design of their own empirical research project.

AMAM6108B

30

JAPANESE FILM: NATIONAL CINEMA AND BEYOND

This module explores the concept of Japanese cinema in relation to national, transnational and global discourses and seeks to reframe discussions of modern and past Japanese filmmaking. We will examine a variety of Japanese films and the ways in which they interact with the history, techniques and culture of Japan. We will also consider the social and commercial nature of Japanese filmmaking, including the ways in which Japanese films circulate the globe.

AMAM6087A

30

MAGAZINES

This module will explore magazines both as cultural objects and consumer products from the emergence of the medium in the 17th century to the present day. It will critically engage with the rapidly transforming structure, nature and operations of the industry in an increasingly digital age, understanding contemporary magazines as transmedia, multi-platform brands. This module will explore magazines as key sites for the negotiation of contemporary power relations. This will be examined through a series of case studies relating to the political economy of the magazine industry; promotional cultures; digital media; and gender, sexuality and the body. This module also contains a vocational strand that seeks to equip students with knowledge of contemporary magazine production processes. The content from this strand will be partially delivered by leading figures in the magazine industry.

AMAM6032A

30

MEDIA PRACTICE PROJECT (AUTUMN)

This module provides the opportunity to work on a practice-based project investigating some aspect of Media, Film and/or Television studies. Projects are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of audio-visual work, sound production, digital media or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical work that refers to, and makes use of, relevant theoretical debates and issues. All projects will contain significant practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual project. ONLY AVAILABLE TO STUDENTS REGISTERED WITHIN AMA FTM.

AMAP6097A

30

MEDIA PRACTICE PROJECT (SPRING)

This module provides the opportunity to work on a practice-based project investigating some aspect of Media, Film and/or Television studies. Projects are individually negotiated. Students are also expected to build upon an area of practice previously learned through experience on practice-based modules in the areas of audio-visual work, sound production, digital media or screenwriting, dependent on which type of practice module was previously studied. Students are also expected to produce practical work that refers to, and makes use of, relevant theoretical debates and issues. All projects will contain significant practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual project. ONLY AVAILABLE TO STUDENTS REGISTERED WITHIN AMA FTM.

AMAP6098B

30

TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE

This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context - highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth - but will also examine young people's media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation

AMAM6072A

30

TELEVISION COMEDY

This module explores key developments in TV comedy from the genre's inception to the present. We consider the status of the genre in television culture and broader debates associated with TV Studies. We also map the ways in which the genre responds to and reflects social and historical contexts and explore examples of the genre from a variety of nations and cultures. The module will explore ways in we can study humour and comedy, and how this has been theorised historically. Key topics related to television comedy will be explored as case studies, including areas such as representation, industry and production, and audiences. There will be a separate programme of screenings.

AMAM6100B

30

Students will select 60 credits from the following modules:

ENGLISH STUDIES, ENGLISH HISTORY AND LITERATURE MODULES. Students cannot take LDCC6004B, LDCC6003A, LDCL6018A, LDCL6019B, LDCL6061A or LDCL6062B.

Name Code Credits

ADOPTING/ ADAPTING/ UPDATING

Is all creative writing a form of re-writing? From Virgil's imperialist taming of Homer, via Jean Rhys's postcolonial 'prequel' to Jane Eyre, to Helen Fielding's homage to Jane Austen by way of Bridget Jones, writers have always engaged their literary predecessors in ways that claim new imaginative and critical space. This creative-critical module explores the many modes in which homage, parody, borrowing, repositioning, intervention and creative (mis)reading may be practised and developed, and considers what, in turn, they reveal about moments and movements in literary history. Whether re-writing's compositional strategies are theorised as (for example) indebtedness, anxiety, irreverence or intertextuality, we will consider how they may also be a rogue and subversive form of reading; one that functions both as critique of the 'parent' text, and a means of generating fresh directions in creative writing.

LDCL6140B

30

CHARLES DICKENS: BEYOND REALITY

Charles Dickens has been described, and cherished, as one of the great chroniclers of the panorama of mid-Victorian society. At the same time, much modern criticism has rightly emphasised what a strange and innovative writer he is, less a documentary social realist than an early practitioner of what might now be called 'magical realism'. This module will examine works from across Dickens's writing career, in a variety of different modes - fiction, journalism, drama, and public speaking - reading them not only in the context of Dickens's times, but also in the context of how other writers in those times dealt with comparable questions. As a result, students will be able to develop their larger interests in the relationships between social reality and its literary representations, in a module which combines in-depth study of Dickens with a broader engagement with theories of realism.

LDCL6136A

30

CHILDREN'S LITERATURE

This module offers students the chance to learn about children's literature and its development. It starts with the history of children's literature, looking at its use as a pedagogical tool, moving through Aesop's fables, fairy tales, Mother Goose, Lewis Carroll's Alice's Adventures in Wonderland, and examining other authors who may include A.A. Milne, Dr. Seuss, Roald Dahl, Sherman Alexie and Nancy Garden, amongst others. The course looks at issues of genre and content as well as historical context. Theoretical readings on children's literature are also closely engaged with, possibly including work by Perry Nodelman, Jack Zipes. Maria Nikolajeva, and others. By studying the development of children's literature, this module also analyses the development of the concept of childhood in Western society. This module also includes presentations and a writing workshop.

LDCL6038A

30

CONTEMPORARY DRAMA AND FILM

This module will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Issues covered include the (questioned) demise of explicitly political drama and the appearance of previously silenced voices (e.g. gay and lesbian themes, feminist playwrights and writing ethnicity, physical theatre practitioners).

LDCD6103B

30

CREATIVE WRITING: POETRY

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module). This is an advanced module for final year Creative Writing minors. Under the guidance of an experienced practising writer, the seminar will take the form of workshops designed to promote group discussion both of students' own work and the work of established authors. Consideration will be given to the technical and expressive aspects of drafting and re-drafting in the strand chosen with a view to shaping and completing a substantial piece of work.

LDCC6103B

30

CREATIVE WRITING: PROSE

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module). This is an advanced module for final year Creative Writing minors. Under the guidance of an experienced practising writer, the seminar will take the form of workshops designed to promote group discussion both of students' own work and the work of established authors. Consideration will be given to the technical and expressive aspects of drafting and re-drafting in the strand chosen with a view to shaping and completing a substantial piece of work.

LDCC6101B

30

CREATIVE WRITING: SCRIPT-WRITING

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module or AMAM5038B: Adaptation and Transmedia Storytelling). This is an advanced module for final year Creative Writing minors. The module will explore the theory and practice of writing for stage, screen and radio through the work of produced writers, secondary reading and students' own writing. The 2 hour seminars and workshops will be supplemented by tutorials on students' own projects and screenings/readings/ radio play listening.

LDCC6105B

30

CULTURES OF SUBURBIA

The history of twentieth-century literature is often told from the perspective of the metropolitan avant-garde. Modernist writers and intellectuals by turns celebrated or abominated the modern metropolis, but they tended to agree that the urban and the modern were inextricably linked. They were also often united by a hatred of suburbia, which they associated with the rise of a pooterish middle class and in turn with an irredeemably philistine, socially conservative middlebrow culture. Wyndham Lewis famously blasted 'the purgatory of Putney'. Yet in certain respects the twentieth century was the suburban century, as the cities continued their horizontal expansion and the separation of 'life' and 'work' that is the suburban response to industrialism became widespread. The growth of suburbia from the late nineteenth century to the present day has provoked a fascinating variety of cultural responses, including, but not limited to, hostile denunciations. Writers, artists and filmmakers found much opportunity for comedy in suburban habits, values and aspirations. They considered the emergence of the suburban housewife and the implications for this for women and for feminism. They debated the architecture and planning of the suburbs, notably through engagements with the Garden City and Garden Suburb movements. They speculated about the political implications of the growth of a literate, home-owning suburban middle class. They depicted the effects of mass immigration on suburbia and the development of suburban multiculture. They pointed to the uncanny and even the surreal aspects of suburban life. This module explores the literature and cultural geography of suburbia in Britain and the United States, and in so doing it suggests an alternative history of modernity, told not from the centre but from the periphery. Writers covered might include: George and Weedon Grossmith, Arthur Machen, William Morris, C.F.G Masterman, Ebenezer Howard, H. G. Wells, Dorothy Richardson, George Orwell, Stevie Smith, Elizabeth Bowen, Doris Lessing, Richard Yates, Hanif Kureshi, J. G Ballard and Julian Barnes. We will also consider examples of suburban film and television.

LDCL6095A

30

DRAMA AND LITERATURE: THE QUESTION OF GENRE

This seminar will explore the boundaries between drama and other genres (kinds, art-forms, media) in an attempt to investigate a number of interrelated theoretical questions. We shall explore these issues via various types of activity - practical criticism, critiques of literary theory, performance analysis, personal theatrical adaptations. The set texts are works of literature which do not quite fit generically - particularly plays that seem to be in some sense 'epic', or novels in some sense 'theatrical', ranging from Shakespeare in the 17th century through to Gay and Fielding in the 18th and Dostoyevsky and Chekhov in the 19th.

LDCL6017B

30

FEMINIST WRITING

We are witnessing an upsurge in feminist activism which some claim is forming the fourth wave of feminism. It is timely then to reconsider how feminist writing (literary texts, literary theory and literary criticism) has helped to shape, influence and articulate debates about gender, sexuality and society in the past and how contemporary feminist writing is continuing to be part of that conversation now. This course offers an opportunity to read and analyse some of the most influential feminist literary texts and literary theory. Writers studied on the course may include Kate Chopin, Zora Neale Hurston, Margaret Atwood, Henrik Ibsen, Angela Carter, Alice Walker, Jeanette Winterson, Edith Wharton, Sylvia Plath and Virginia Woolf, Ali Smith, Chimamanda Ngozi Adichie as well as writings from an anthology of feminist writings from Arab women, Students will study the ways in which feminist criticism and theory (including Kristeva, Cixous, bell hooks, Irigaray and Showalter) has reshaped the canon, challenged the ways literature is taught as well as making us consider what literature can, might and ought to be. Feminism has also exacted different forms of writing and challenged dominant modes of representation. We will take a particularly close look at the relationship between feminism and the gothic, the short story and experimental writing. Assessment will be by course work and project and students will be required to be assessed in both critical and creative modes. Male and female students are equally welcome.

LDCL6132B

30

FROM KAFKA TO SEBALD: ASPECTS OF 20TH CENTURY 'GERMAN' WRITING

This module presents an opportunity to study in depth a number of key works of 20th century German literature and to explore ways in which they respond to, and reflect, the upheavals of 20th century history. While the focus will be largely on works of prose fiction, this does not preclude the study of other genres. Starting with the modernist crisis of language ("Chandos-crisis") we will look at works by authors such as Kafka, Rilke, Benjamin, Thomas Mann, Joseph Roth, Elias Canetti, Paul Celan, Ingeborg Bachmann, Christa Wolf and W. G. Sebald. All works studied are available in translation so a knowledge of German, while always welcome, is not a requirement.

LDCL6128B

30

LITERATURE AND DECONSTRUCTION

In an interview with Derek Attridge, Jacques Derrida describes literature as 'this strange institution which allows one to say everything'. This module explores the writings of Derrida and related thinkers alongside a range of literary texts, including works by Keats, Shakespeare and Joyce. Through a combination of lectures and seminars, we will think about the strangenesses of literature, look at the ways in which it is an 'institution' and consider the kinds of freedom - of speech, writing and thinking - it permits. Our aim throughout will be to establish the possibilities for literary criticism opened up by deconstruction. The module is open to everyone, but may be of particular interest to those who studied critical theory in the second year.

LDCL6048A

30

LITERATURE AND HUMAN RIGHTS

From protests against torture and censorship to justice and reconciliation trials, from the Holocaust to Apartheid, from testimony to the postcolonial novel, a distinctive literary sensibility informs our contemporary sense of rights. This module traces the emergence of human rights as a cultural and literary idea from their revolutionary conception in the eighteen century, through the United Nations of Declaration of Human Rights (UDHR) to the present, taking in key literary responses to injustice, suffering and atrocity. We will ask how literature has contributed to understanding human rights and examine how writing has been thought of as a form of 'righting'. This module suits students who enjoy the challenges of literary theory and politics, and who are interested in thinking seriously about the relationship between literature and its 'real world' applications and significance. You will also be encouraged to develop your own writing practice in relation to contemporary rights debates.

LDCL6031B

30

LYRIC

The module will incorporate a historical survey of Western lyric, looking at its inception in the poetry of Pindar and Sappho, and the Aristotelian division of poetic arts in lyric, dramatic and epic. It will cover lyrics from Provencal troubadour poets through the Italian and English renaissance to Romantic lyric. Finally, it will cover the fate of lyric in the present day, from 'conceptual writing' and 'post-humanism' which offer a thoroughgoing rejection of lyric, to the embrace of lyric in contemporary young poets. The module will start by considering the question: 'What is lyric'? The purpose is not to establish a transhistorical concept of lyric as genre or mode, but rather to see how different thinkers at different times have approached it. This is a particularly timely question for literary criticism and poetics. We will isolate certain tropes, ethics, and focal points that are taken to be characteristic of lyric, whilst at the same time probing the historicity of lyric as a concept, especially regarding the ideology of the lyric 'I' that is associated with romanticism. This module fulfils the pre-1789 requirement.

LDCL6087A

30

MADNESS AND MEDICINE: WOMEN'S WRITING IN THE REGENCY

This module will study late 18th-century and early 19th-century writings in the context of scientific and medical innovation. We consider whether it may be appropriate to view the work of novelists such as Maria Edgeworth, Jane Austen and Mary Shelley as a response to, and even a protest against these newly (or, more correctly, nearly) professionalised, male-dominated worlds. These women writers often concern themselves with the 'consumers' as well as the providers of the services offered by these professions; this module considers why that might be and how this kind of contextualisation might impact upon our readings of their work.

LDCL6042A

30

MEDIEVAL ARTHURIAN TRADITIONS

From Welsh folklore to Monty Python, the tales of Arthur and the Knights of the Round Table have excited and intrigued generations. Why? To answer this question we explore the development of the legend from its twelfth-century Celtic roots through to a number of twentieth-century film adaptations. How the legend has been translated across form, genres, cultures and ages will be studied through creative and critical exercises, including examples from Middle English Arthurian manuscripts, translations of the Welsh Mabinogion, of Monmouth's Latin chronicle and French romance texts. This module will enable students familiar with Sir Gawain and the Green Knight to enhance their awareness of the wider Arthurian traditions within which this text belongs, but is also suitable for students who are encountering medieval literature for the first time.

LDCL6066B

30

MEDIEVAL GENDER AND SEXUALITY

Gender and sexual identities are neither given nor fixed, but rather learned and insistently fluid. It is the aim of this module to tease out their complexity in medieval culture through a range of creative and critical exercises. The medieval is constantly imagined as a key moment in the history of sexuality, though it is rare for critics to gree on quite why this should be so and provokes lively and contentious debate. Examining a range of medieval poems, narratives, drama, images, and manuscripts, students will explore the historical construction of the body, virginities, marriage, heterosexuality, homosexuality, the polymorphous erotics of mysticism, the medieval understanding of cross-dressing, and the intersection of sexuality with race, gender, and religion. By the end of the module, students will have improved their knowledge of medieval writing and culture and will have considered the writing and performance of gender in historical context.

LDCL6120A

30

MEDIEVAL MONSTROSITIES

Giants, dragons and half-human hybrids are just some of the fantastical creatures that populate Middle English literature. Too readily dismissed by modern readers as mere whimsy, or else the product of credulous minds, instead this module takes monsters seriously as revealing facets of a sophisticated myth-making society. We will consider monsters in a range of genres including romance, saints' legends, travel writing and visual imagery, as well as their reception by medieval and modern readers and critics. We will interrogate the various discourses of monstrosity and consider what makes a monster, including: the horror and allure of the monstrous body; monstrous appetites; sexuality and sexual deviance; geography and racial alterity. We will also explore the literary and cultural construction of 'human monsters' (women, pagans, Jews) rendered 'other' due to their perceived divergence from societal and religious norms. Throughout the module you will be able to apply your developing understanding of the discourse of monstrosity in a range of practical contexts including field trips and engagement opportunities. Previous experience of Middle English literature will be an advantage but is not required. This module fulfils the pre-1789 requirement.

LDCL6081B

30

MINOR LITERATURES: RESISTANCE, RADICALISATION AND READING

This module explores writing as a site of resistance and protest and considers representation itself as inherently political. Does this make the work of a reader radical, or how can that work be radicalised? Taking a lead from the thinking of Gilles Deleuze and Felix Guattari the module will ask what does it mean to write or speak a dominant language in such a way that it stutters or stammers? What would such writing or speaking look or sound like? Deleuze and Guattari suggest that minor literature (minoritarian form in general) takes a dominant, hegemonic, major language and force it to 'say' something different, and to do so differently, dislocating (deterritorialising) it so that a new voice (speaking from a new constituency) can be heard. They use the works of Kafka, a Czech Jew writing in 'official' German, as a representative example of how a dominant, major language can be pressed into the service of a minor literature, as a way of inscribing new constituencies, while other critics have considered sub-cultures' re-appropriation of language, post-colonial writing back, musical subgenres and alternative/underground cinema as also being iterations of minoritarian impulses. This module explores various aspects of writing or speaking back, writing against the grain, saying the things major language finds itself unable or uncomfortable to speak about, and articulating the unheard. Writers and texts might include Kathy Acker, William Burroughs, Elias Khoury, Dana Spiotta, Jennifer Egan, along with punk 'zines, samizdat writing and manifestoes.

LDCL6146A

30

NERVOUS NARRATIVES

'We all say it's nerves, and none of us knows what it means', says a character in Wilkie Collins' 1860 novel, The Woman in White. Our aim is to think about how a discourse of the 'nerves' - the 'nervous temperament' and nervous illness - can be both so pervasive culturally and so slippery in its meaning. This interdisciplinary module takes you from the late 17th century, when the concept of 'neurologie' first emerged, to the 21st century, linking literary, medical and philosophical writing to explore the representation of the 'nerves'. The historical range of the module is not meant to imply a transhistorical understanding of nervous illness or temperament, but rather will enable us to analyse the historically specific nature of the nervous body and what it is made to mean, culturally, within different contexts. In this way, we will be working with issues as diverse as religious 'enthusiasm', hysteria and hypochondria, sensibility, sensation, fear of modernity, manliness and effeminacy, shell-shock, PTSD and the concepts of the healthy or fragile body of the nation. Spanning time and genre, the literary texts studied will take us from the earliest, Jonathan Swift's satire, A Tale of a Tub (1704) up to the contemporary: Siri Hustvedt's novel, What I Loved (2003) and her analytical memoir, The Shaking Woman, Or, A History of My Nerves (2010).

LDCL6046A

30

NEW WORLDS: SCIENCE FICTION AND BEYOND

It has been suggested that science fiction was the authentic literature of the twentieth century, yet it has also been seen as a genre cut off from the literary mainstream, its provenance, tropes and generic limits contested. Are there distinctions betwen science fiction, speculative fiction and even sci-fi? This module aims to explore science fiction as a mode by investigating various definitions of science fiction and asking: what possibilities does it offer to writers? How does it mediate the relationship between literature and science (and technology): And how have writers gone beyond the conventional limits of the genre (and we will also consider other media)? The module will look at thematic clusters of texts, often pushing the boundaries of the conventional sci-fi canon and encouraging students to think across different literary periods about the antecedents of science fiction. We will consider such themes as interplanetary travel, time travel, ecological catastrophe, speculative fiction, experiments with scale, and steam punk and writers studied might include H.G. Wells, John Wyndham, Ursula K. Le Guin, J.G. Ballard, Margaret Atwood and China Mieville.

LDCL6116B

30

NONFICTIONAL LIVES IN FICTION AND DRAMA

This is a creative/critical module which focuses on the way that the writers of fiction and drama address the problems of writing about people who are alive or historical. You will read a variety of texts, fictional and dramatic, some of which are clearly fictional, and others which occupy the fuzzy middle ground of the nonfictional novel or play. You will also be able to choose your own work to explore in class and in a formative essay. In addition the module will also offer you the chance to write your own work of fictionalised prose or drama based on contemporary or recent people and will include creative writing exercises and workshops to assist you in this.

LDCC6099A

30

QUEER LITERATURE AND THEORY

This module offers students the chance to learn about LGBTQ literature and its development in English-speaking countries, as well as approaches to queer theory. This means analysing sexuality and gender and the representation of such identities in literature and also connections between literature and the broader culture. Authors studied may include James Baldwin, Alison Bechdel, Gore Vidal, and Sarah Waters, as well as children's books and young adult novels by Alex Sanchez, Nancy Garden, Ellen Wittlinger, and Marcus Ewert. Authors of theoretical texts looked at may include Eve Kosofsky Sedgwick, Judith Butler, Leo Bersani, and Teresa de Lauretis. Understanding how LGBTQ characters are featured in literature also helps us to see how queer people are understood in a given society in general. This course also aims to look at a variety of genres in order to see how these different text types work and how they approach similar material in different ways. This module also includes presentations and a writing workshop.

LDCL6033B

30

SATIRE

'Satire is problematic, open ended, essayistic, ambiguous in relation to history, uncertain in its political effects, resistant to final closure, more inclined to ask questions than provide answers, ambivalent about the pleasures it offers' (Dustin Griffin).The aim of this module is to investigate the problematic territory of satire. Using examples from modern and contemporary fiction and journalism alongside early modern and classical satire, we will formulate a critical and conceptual map, which will in turn allow us to discuss some of the problems of satire (those of genre, of gender, of politics, of morality, of history), and to explore some of the paradoxes of its strategies and functions (freedom versus limits; subversion versus conformity; transformation versus stasis).Writers under discussion will include Juvenal, Horace, Swift and Pope; John Dryden, Eliza Haywood, Delarivier Manley, Evelyn Waugh, and Jonathan Coe.This module offers the opportunity for one or more of the assessments to e a creative writing piece. This module counts towards the pre-1789 requirement.

LDCL6085B

30

SHAKESPEARE: SHADOW AND SUBSTANCE

Platonist epistemology permeated Elizabethan culture: the aim of this module is to explore the relationship of Shakespeare's topic of the world as a stage to Neoplatonic conceptions of perception, politics, poetry and love.

LDCL6056B

30

T.S. ELIOT AND TWENTIETH CENTURY POETRY

The poetry of T.S. Eliot has a unique place in modern verse as a body of writing that combines mass popular appeal with intense intellectual challenge. The first half of this module will take students chronologically through the various stages of Eliot's Collected Poems, from the nineteenth-century influences that combined to produce 'The Love Song of J. Alfred Prufrock' (1915) to the wartime contexts of his final major poem, Four Quartets (1943). It will also offer an introduction to Eliot's literary criticism as well as criticism written about him. The first coursework essay will take the form of an editorial commentary on a chosen poem or passage, giving students an opportunity to follow up allusions and interpretations through wider reading. The second half of the module will look more broadly at Eliot's influence as a poet, critic, and editor. Beginning with his own views of the need to reinvent poetry's cultural significance for the twentieth century, we will consider the importance of Eliot's example to later poets in Britain (W.H. Auden, W.S. Graham, Geoffrey Hill, Ted Hughes, J.H. Prynne, Lynette Roberts, Rosemary Tonks) and America (John Ashbery, John Berryman, Peter Gizzi, Jorie Graham, Susan Howe, Sylvia Plath). The final project will be a 3,000-word essay on any Eliot-related topic of the student's choosing, and may take the form of a creative-critical poetry portfolio and self-commentary in response to the reading for the course.

LDCL6122B

30

THE ART OF EMOTION: LITERATURE, WRITING AND FEELING

According to Roland Barthes, emotion is 'a disturbance, a bordering on collapse: something perverse, under respectable appearances; emotion is even, perhaps, the slyest of losses'. This module takes this 'perversity, under respectable appearance' as the starting point for asking how an attention to our emotions - our feeling, affects, and intimacies, as well as our aversions - can make us rethink what it means to be critical and creative readers and writers. Drawing on a range of theoretical and critical work from literary studies, cultural theory, art, philosophy, sociology, neuroscience, psychology, creativity and creative writing studies, cognitive science, history and anthropology, we will ask what it means to read, and write, 'with feeling'. What is the relationship between language and feeling? Between the body and emotion? How does literature touch and move us? Are our 'aesthetic' emotions real? How does technology - the digital, virtual, prosthetic and online - affect our ideas about emotion? Are emotions universal and timeless, or historically and culturally specific? Private and personal, or collective and public? How do emotions construct gender, class, race, nationality, and other kinds of identity? Why do some feelings attract more critical interest than others? How does an attention to emotion affect our work as readers and writers? We will begin by building a theoretical and critical literacy for thinking feeling, before focusing our inquiry around specific themes that might include: Animal Passions; Psyche, Pathology and Resistances to Psychoanalysis; Feeling Texts: Touch, Texture and Fictional Fabrications; Moving Fictions: Cinema, Virtuality, and E-motion; Zombies: Can Dead Subjects Feel?; Affective Economies; Queering Feeling; and Feeling Human: Robots, Artificial Intelligence and Clones. We will engage with a range of literary texts and other aesthetic forms (such as art, film, etc.) chosen to correspond with our critical concerns. You will have the opportunity to engage both as critical and creative readers and writers, and there will be critical and creative assessment options. This module is open to all students. It will complement level 3 options such as 'Literature and Deconstruction', 'Nervous Narratives', 'Traumaturgies', ' Literature and Human Rights' and 'Queer Theory'.

LDCL6118B

30

THE ART OF MURDER

Crime, like death, has always been with us, yet it was only in the nineteenth century that de Quincey proposed considering murder as one of the fine arts and Poe established many of the central tenets of crime fiction with his 'tales of ratiocination'. Currently, crime fiction is the most bought, and read, literary genre and one diverse enough to include 'whodunits'; Baker Street's most notable resident; the genteel amateur detectives of the 'Golden Age'; hard-boiled thrillers; noir; psychological fiction and even the post-modern iterations of anti-detective fiction. Narratives about crime and criminals, detection and sleuths (not forgetting the violence and victims) can be both conservatively formulaic and radically diverse. It can articulate dangerous and disturbing transgressions against society (the crime) while also revealing the ideological forces of law (what constitutes a crime) order (the various detective figures) and the systems of justice and ill-justice (courts and punishment, state and government) with which a society protects and proscribes itself. Crime fiction is also concerned with interpreting clues, discovering secrets and solving enigmas, much in the way that critical theory investigates and analyses literary texts. This module aims to explore key texts and writers in the development of crime fiction as well as examining critical and theoretical responses to such texts. It will allow students to respond both creatively and critically to the concerns of, and thinking about, this diverse genre.

LDCL6130A

30

THE CONTESTED PAST: LITERATURE AND THE POLITICS OF MEMORY

How do we negotiate the darker aspects of our past, particularly when individuals' experiences clash with official history? This module explores the public and private practices of remembering and forgetting in the aftermath of civil war, totalitarianism, colonialism or otherwise repressive rule. In particular, we will examine the writer's role as collaborator, witness, archivist or dissident: how does the writer facilitate access to, and debate about, contentious, painful or obfuscated history? Our approach to the politics of commemoration is interdisciplinary and draws on ideas from philosophy, historiography, memory and cultural studies as well as heritage and museum studies. The primary material encompasses a range of fictional, non-fictional and visual material from a wide range of genres; most of it postwar and relatively recent. Since this is a global issue you will encounter writers from formerly colonised nations in Africa, from Central and Eastern Europe, South America, and the Near and Asia.

LDCL6097A

30

THE EIGHTEENTH-CENTURY NOVEL

In the eighteenth-century the novel was in a state of flux, with writers experimenting with different possibilities for writing extended fictional narratives. In this module we will be reading three of the most important novels of the eighteenth-century over several weeks so that we can attend to them closely as they unfold in time. Our novels are Samuel Richardson's Clarissa, Henry Fielding's Tom Jones, and Frances Burney's Evelina. Our secondary readings will engage the central debates happening in novel studies today. Students will have the opportunity to experiment with ways of working with texts beyond close reading and draw on the methodologies of book history and of the digital humanities. This module fulfils the pre-1789 requirement.

LDCL6144A

30

THE GOTHIC

This module seeks to cover some 'canonical' texts of the Gothic Novel (1764-1820) in Walpole, Radcliffe, Mary Shelley, and to consider some later developments of the gothic mode in later 19th and 20th centuries: Poe, Le Fanu, Stevenson, MR James, Elizabeth Bowen, David Storey and Angela Carter. The course also seeks to introduce students to some of the theoretical and historical arguments around the contested nature of the term 'gothic', the Uncanny, the subversiveness or otherwise of this kind of writing, and its relation to the novel genre.

LDCL6024A

30

THE ITALIAN RENAISSANCE: TRANSLATING LOVE, DEATH AND ADVENTURE

For something to be reborn it must first die. The Italian Renaissance ('rebirth') sought to disinter the past in order to reanimate the present, but in order to do so the present had to come to terms with its loss - as Petrarch asked, 'who can doubt that Rome would rise again instantly if she began to know herself?'. How can we best understand this process of loss and reanimation? How did Renaissance writers understand it, and how did they bridge the gulf between death and rebirth? And can we do the same? In order to answer these questions this module examines the twin practices of imitation and translation in English responses to some of the most exciting and influential texts of the Italian Renaissance. It does so in two ways: through a sustained analysis of those practices in their diverse forms and genres (sonnets, epic, dialogue, drama), and by imitating the process of creative imitation ourselves. In other words, we step into the shoes of the Renaissance imitator. The module allows us to understand how Italian poets such as Dante, Petrarch and Ariosto responded to the classical past (and each other), and how English poets and playwrights such as Wyatt, Spenser, Shakespeare and Jonson responded to Italian models. By imitating the imitators - for example by writing sonnets - we gain a deeper understanding of how imitation is both a creative practice and a critical process, both a reading and a rewriting. Students are not expected or required to know any Italian in advance. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6124B

30

TRAVEL LITERATURE

The eighteenth-century reading public eagerly devoured narratives of travels around the world. In this course we will survey the diverse range of travel literature this century produced. We will read accounts of actual and fictional travels, as well as narratives that fall somewhere between the real and the imaginary. Key questions for us will be how travellers' identities and ideas are reshaped through the experience of journeying, how our texts both articulate and question the ideologies underpinning Britain's maritime empire, and how voyage literature connects to other literary genres, including the novel, romance, history, utopia, and anecdote. Texts include Aphra Behn's Oroonoko, James Cook's Endeavour Journal, Mary Wortley Montagu's Letters from Turkey, Olaudah Equiano's The Interesting Narrative of Olaudah Equiano, and Janet Schaw's Journal of a Lady of Quality. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6108B

30

URBAN VISIONS: THE CITY IN LITERATURE AND VISUAL CULTURE

This interdisciplinary module explores the idea of 'the city' through a selection of writings (fiction, poetry, essays, theory), visual (painting, photography, film) and, occasionally, other sensory material (sound, smell), spanning 1850 to the present day and focused on two great capitals of modernity, Paris and London. In this period, the growth of the great European cities created a new and diverse set of environments and possibilities. Utopias, dystopias, sites of ruin and construction of all kinds; what different, contradictory or coherent versions of urban experience do these texts and images offer? We'll investigate what kinds of writing, art, discourses and attitudes cities seem to generate. Along the way, we'll test out Malcolm Bradbury's assertion that modernism found its natural habitat in cities, was indeed 'an art of cities'. How do textual and pictorial techniques intersect, for example, in the case of nineteenth-century Impressionist art and writing, twentieth-century surrealism and situationism, or contemporary street art and photography? In the company of the flaneur/flaneuse and other urban wanderers, we'll consider aspects such as space, place, urban being and time, love and eroticism, hauntings, memory and the presence of the past, the individual and the crowd, the role of consumer capitalism, nature and the natural, psychogeography, and the pressures, preoccupations and thrills peculiar to urban living. Writers to be studied may include Balzac, Dickens, Poe, Baudelaire, Zola, Gissing, Conan Doyle, Aragon, Breton, Woolf, Maureen Duffy, Iain Sinclair, Peter Ackroyd and China Mieville alongside a selection of theorists, poets, artists and photographers, as well as Patrick Keiller's film, London and a selection of other city films. There will be scope to include creative (including visual) responses as part of your assessment.

LDCL6138A

30

VIRGIL'S CLASSIC EPIC

This module focuses on Virgil's great classical epic, the Aeneid, and it medieval reception. The module falls into two parts: for the first five weeks we concentrate on the Aeneid itself, exploring its structures, contexts and discursive complexities. We shall attend particular closely to the manner in which Virgil constructs his poem by reworking passages from the Homeric epics, the Iliad and the Odyssey. We shall, by and large, focus on a single book in each week, as a way not only of introducing the Aeneid itself but also of looking forward towards the cruces that later readers and rewriters of the poem were drawn to resolve. In the second part of the module, we turn to the reception of the Aeneid in the Middle Ages, for the Aeneid is not only one, an especially rich work in its own right, but also one of the central cultural artefacts in the Western tradition. This is a measure not only of its quality as a poem, but also of its importance as a Roman poem and of Rome's place at the heart of classical and Christian culture. We shall explore the manner in which later readers and rewriters work to reimagine the Aeneid within new cultural horizons, rendering its pagan authority available for new Christian uses and working to resolve its tensions and problematics in a revealing variety of ways.

LDCL6054B

30

WRITING LIFE: BIOGRAPHY AND CREATIVE NON-FICTION

How do writers attempt to capture 'life' in all its various forms? What, if any, are the different requirements in writing the life of a famous (or not so famous) person and that of a city or landscape? What about the 'life' of travel or food and how do you approach writing about the natural world? These are just some of the questions that this module sets out to address. We will be reading a wide variety of texts, from the 'traditional' biography to some of the more experimental examples of creative non-fiction. From Samuel Johnson to essays in The New Yorker, all human (and non-human) life will be there! Students may choose between writing their own piece of Biography or creative Non-Fiction as their final project or submitting a critical essay.

LDCL6026B

30

WRITING RELIGION IN EARLY-MODERN ENGLAND

Writing about God is always difficult: how can the time-bound form of language express the timeless? How can poetic language be adequate to devotion? In the early-modern period, these problems were more acute than at any other point in English literary history. The Reformation had made minute textual distinctions matters of life-and-death controversy. New discoveries about the multiplicity of versions of the biblical text challenged old orthodoxies. Challenge, too, came from the discovery and translation of classical, atheistic views of the origin and history of the universe. These new religious challenges spurred the development of new kinds of literary language and form. They energised many of the greatest writers of the age, including John Donne and John Milton, whose works we will be studying. But lesser-known writers, many of whom were women, also shaped new forms of devotion and challenges to it. Our work on this module will proceed through intensive close reading of works in a great variety of genres, from lyric poetry to sermons. Although this module should be of interest to those who have studied the second-year 'Seventeenth-Century Writing' module, no prior knowledge of religion or of early-modern writing is assumed. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6134A

30

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Entry Requirements

  • A Level ABB including English Literature or the combined English Language and Literature
  • International Baccalaureate 32 points including 5 in HL English
  • Scottish Advanced Highers ABB including English
  • Irish Leaving Certificate AABBBB including English Literature or 2 subjects at H1 and 4 at H2 including English Literature
  • Access Course An ARTS/Humanities/Social Science pathway preferred. Pass with Distinction in 30 credits at Level 3 including modules in English Literature and Merit in 15 credits at Level 3
  • BTEC DDM alongside a GCE A-Level or equivalent in English Literature
  • European Baccalaureate 75% including English at 70% or above

Entry Requirement

You are required to have Mathematics and English Language at a minimum of Grade C or Grade 4 or above at GCSE Level.

A GCE A-level in English Literature is required.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading):

  • IELTS: 6.5 overall (with no less than 6.0 in any component)

We also accept a number of other English language tests. Please click here to see our full list.

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview and a decision will be made via UCAS Track. However, for some students an interview will be requested. You may be called for an interview to help the School of Study, and you, understand if the course is the right choice for you.  The interview will cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.  Where an interview is required the Admissions Service will contact you directly to arrange a convenient time.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and to contact admissions@uea.ac.uk directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

  • A Level ABB including English Literature (or the combined English Language and Literature A-level)
  • International Baccalaureate 32 including 5 in Higher Level English
  • Scottish Highers Must have Advanced Higher in English
  • Scottish Advanced Highers ABB including English
  • Irish Leaving Certificate AABBBB including English Literature
  • Access Course Arts/Humanities/Social Science pathway preferred. Pass the Access to HE Diploma with Distinction in 30 credits at Level 3 including English Literature modules and Merit in 15 credits at Level 3.
  • BTEC DDM in Arts/Humanities subject preferred, alongside Grade B in English Literature A-level (or equivalent).
  • European Baccalaureate 75% including English at 70% or above

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading):

  • IELTS (SELT): 6.5 overall (minimum 6.5 Writing with no less than 6.0 in any component)

We also accept a number of other English language tests. Please click here to see our full list.

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview. However, for some students an interview will be requested. These are normally quite informal and generally cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.

Students will have the opportunity to meet with an academic individually on an Applicant Day in order to gain a deeper insight into the course(s) you have applied for.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.

Deferred Entry - We welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Special Entry Requirements

As part of the A level entry requirements, you should have at least a grade B in A-level English Literature or the combined English Literature and Language.

Intakes

The School's annual intake is in September of each year.

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above, then please contact the University directly for further information.

GCSE Offer

Students are required to have GCSE Mathematics and GCSE English Language at Grade C or above.

Fees and Funding

Undergraduate University Fees and Financial Support: Home and EU Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for Home and EU students and for details of the support available.

Scholarships and Bursaries

We are committed to ensuring that costs do not act as a barrier to those aspiring to come to a world leading university and have developed a funding package to reward those with excellent qualifications and assist those from lower income backgrounds. 

Home/EU - The University of East Anglia offers a range of Bursaries and Scholarships.  To check if you are eligible please visit the website.

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Undergraduate University Fees and Financial Support: International Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for International Students.

Scholarships

We offer a range of Scholarships for International Students – please see our website for further information.

How to Apply

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (Film and Television)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.

    Next Steps

    We already know that your university experience will be life-changing, wherever you decide to go. At UEA, we also want to make that experience brilliant, in every way. Explore these pages to see exactly how we do this…

    We can’t wait to hear from you. Just pop any questions about this course into the form below and our enquiries team will answer as soon as they can.

    Admissions enquiries:
    admissions@uea.ac.uk or
    telephone +44 (0)1603 591515