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Lancaster University offers a range of programmes, some of which follow a structured study programme, and others which offer the chance for you to devise a more flexible programme to complement your main specialism. We divide academic study into two sections - Part 1 Year 1 and Part 2 Year 2, 3 and sometimes 4. For most programmes Part 1 requires you to study credits spread over at least three modules which, depending upon your programme, will be drawn from one, two or three different academic subjects.

A higher degree of specialisation then develops in subsequent years.

African Film and Literature: Adapting Violence to the Screen

For more information about our teaching methods at Lancaster please visit our Teaching and Learning section. The following courses do not offer modules outside of the subject area due to the structured nature of the programmes: Law, Physics, Engineering, Medicine, Sports and Exercise Science, Biochemistry, Biology, Biomedicine and Biomedical Science. Information contained on the website with respect to modules is correct at the time of publication, and the University will make every reasonable effort to offer modules as advertised.

In some cases changes may be necessary and may result in some combinations being unavailable, for example as a result of student feedback, timetabling, Professional Statutory and Regulatory Bodies' PSRB requirements, staff changes and new research. This module introduces you to some of the most vital debates in an English literary tradition that is constantly being rewritten and challenged, especially in the multicultural, postmodern era of the late twentieth century and beyond.

A range of literary genres is also covered including plays, films, short stories and novels in addition to poetry in order to develop the practice of close analytical reading Throughout the module attention is given to the working-class, women, black and Irish writers as well as mainstream English authors.

New Looks: The Rise of African Women Filmmakers

The module also includes a Study Skills component and an introduction to some of the general theoretical issues of reading and interpretation. This module is intended to provide you with the essential knowledge and competencies to undertake the academic study of film at university level.

The first term provides you with an understanding of the formal and technical composition of films to allow you to undertake detailed analysis of films, from the level of close scrutiny of individual images, and their interrelation with the soundtrack, to the narrative assembly of shots and scenes. Through the analysis of a range of examples, you will be given the opportunity to become familiar with the key formal and semantic conventions of cinema.

The second term aims to provide you with a framework knowledge of world film history. By focusing on a selection of key films and filmmakers, this section of the module will explore historically significant movements and themes within international cinema from the s to the present day.

Film and English Literature BA Hons (PQ33) | Lancaster University

This term is thematically organized around issues of ideology and realism, and explores the shifting social and political status of cinema during the last century. In the third term you will undertake a practical project, working with a small group to produce a short film. This core module has two main objectives. Firstly, it is designed to develop further your analytical skills in order to examine individual films in greater detail. Secondly, it is intended to encourage you to understand world cinema in relation to a variety of social, cultural, political and industrial contexts.

The module will explore such issues as the relationship between film form and modes of production from industrial film-making through to low-budget art film , theories of film style and aesthetics, and the political function of cinema. In the first term, we focus wholly on various modes of American film production, and in the second term we explore some broader theoretical questions through an analysis of films from a number of different national traditions. Across the whole module, you will gain a thorough grasp not only of the historical factors shaping various national and international cinemas, but also of some key critical and theoretical concepts within the field of film studies.

What is literature? Why are some literary and cultural texts deemed to be exceptionally valuable? What are the best ways of reading these texts? This is the core module in English at Lancaster. It addresses fundamental questions about the status, value, and interpretation of texts, posing these questions in the context of recent debates about language, politics, gender, selfhood, culture and national identity. You will discover the major critical concepts and debates of recent years and assess their strengths and limitations as models of literary interpretation.

The module will consider the ways in which critical theory has challenged traditional assumptions about literature and criticism; it will examine the debates that have opened up between different theoretical schools of thought; and it will enable you to deploy theoretical terms and concepts in your own acts of reading. Its overall aim is to make you more rigorous, sophisticated and inventive in your readings of literary and cultural texts.

This module is divided into key areas across the two terms: Revolution; The Self; Politics and Poetics; and the Gothic. We will begin by examining revolutionary writing of the Romantic period, including the poetry of such writers as Anna Barbauld, William Blake, and William Wordsworth, and the prose of such writers as Edmund Burke, Thomas Paine, and Mary Wollstonecraft. We also examine the relationship between politics and poetics for the second-generation poets such as John Keats and Percy Bysshe Shelley, and then, the slave narratives of Olaudah Equiano, Mary Prince, and the orientalism of S.

Coleridge and Thomas de Quincey. The module aims to give students a sense of the diverse range of writers in this period. We will use the close knowledge of key texts to tackle some of the wider, more abstract ideas such as: nature, the imagination, and the sublime. We will also consider literary ideas within a broader social, historical and philosophical context. This module provides an introduction to critical theory in the arts and its application to aesthetics and art. The first term concentrates on 'structures' in artworks and the second on 'identities'. Plenary lectures make connections across the arts, and seminars and workshops allow you to work in your subject groups art, film, theatre, design on ideas and examples specifically tailored towards these disciplines.

Documentary Film Practice is a practice-based module. In order to take this module you must have taken Documentary Cultures in your first year. The module builds on knowledge acquired. By undertaking a practical project in Documentary Film Practice, students are expected to apply theoretical knowledge gained the Documentary Cultures module to a practical project.

As well as applying theory to practice, the module aims to enhance your filmmaking skills, with training provided for camera operation, sound recording and editing skills. You will also have the opportunity to develop skills in group work. The module aims to develop an understanding of historically important European films from the s to the s and the stylistic and historical significance of these films. It will explore the thematic importance of these films and consider the critical debates relating to this period of filmmaking enabling students to develop a critical understanding of the conditions of production, reception and distribution of these films.

This module examines a historical genre that now occupies the economic centre of Hollywood film production. The module focuses centrally on film and comic book aesthetics; on questions of narration and visual depiction in these two related media; on the shifting norms of this film genre in relation to technological change across history; and on the significance and uses of the comic-book film in society. The module develops ideas and skills introduced in the core Film Studies modules taken as part of the film studies and combined degrees. If you are thinking of a career in teaching, this voluntary placement offers the opportunity to work in a primary, secondary or special needs school.

Working alongside a teacher, you will have the opportunity to gain valuable classroom experience. Normally, this would be through teaching a class or working with a designated group of pupils.

The module gives you the opportunity to understand how a work environment functions and how you can contribute to this. It will give you the chance to develop a range of transferable skills and apply your knowledge and understanding of your placement. Places on this module are limited and there is an internal application process to secure your place. This module surveys formal, generic, historical, cultural, narrative, and theoretical relationships between literature, film, and other media across a range of periods, genres, topics, and cultures, paying particular attention to the practice and analysis of literary film adaptation, while also addressing some other modes of literary adaptation e.

Recently topics have included theories of adaptation, how to read graphic novels, how to read films, how to read television, literature and classical Hollywood cinema, novels and TV serialization, prose fiction and film, poetry and film, theatre and film, various genres across various media Gothic, crime, war, science fiction, romance, westerns , the author on screen, adaptation and animation, and a screenwriting workshop.

This module aims to introduce key issues and practical skills in the production of video for media, performance, new media art and documentary film. A group practical project will introduce the use of video cameras, filming and editing, project planning, team work and the practical use of installation technologies. The module offers students the opportunity to work in interdisciplinary teams to produce a short film, performance, installation or documentary, including video and other media where appropriate. The module will take us from the closing decades of the Tudor monarchy to the episodes of power, revolution and restitution that characterised Stuart rule During this time, English culture saw upheavals in politics that were accompanied by shifts in discourses such as those of gender, religion, sex, science and education.

We will be reading cross-sections from works by many authors to explore these themes from as many angles as possible. We will consider the similarities between a wide range of primary texts but we will also be keen to observe and analyse differences. New technologies and scientific developments altered the ways in which Victorians thought about themselves and their environment, and the literature of the period responded to these changes in all sorts of ways.

This module will explore the work of some of the most historically important female film-makers from the s through to the present, considering films from around the globe. The module will examine the significant but often marginalized and obscured roles that women have played in industrial, experimental and avant-garde film production across a spectrum of roles from costume and production designers through to screen-writers, editors and directors.

You will be invited to reflect upon the fact that, despite playing key roles in the development of the medium, women continue to be excluded at all levels of film production. The module will examine a series of female directors and their work, and each week will be oriented around the screening of a case study film that will be the focus for the seminar. In 21st Century Theory, we will build upon the general introduction to critical and cultural theory given in The Theory and Practice of Criticism by focusing on one specific theme in contemporary theory: biopolitics.

This module will seek to address the following questions. What exactly is biopolitics? How have theorists, novelists and film-makers imagined such concepts as sovereign power, bare life, the state of exception and so on? To what extent might it be possible to resist the biopolitical hold over our political imaginary? This third-year core course will add to the theoretical, historical and cultural aspects of film investigated in Years 1 and 2, while focusing more closely on the challenging aesthetic and critical debates surrounding the concept of modernity.

It will look at films made in the silent era, in post-war Europe and in Britain and the US.


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Writings on film will be considered in conjunction with viewings of particular films, close analysis of specific filmic techniques and methods, and historical and theoretical approaches to film. The course will also pay attention to the debates of classical and contemporary film theory, feminist approaches and other critical traditions semiotics, structuralism, formalism, cognitivism. Building on the approach to film taken in Global Cinema: Hollywood and Beyond, this course focuses on film theory as students are introduced to key debates in classical and contemporary film theory, with topics exploring the relations between film and art, cinema and politics, cinema and psychoanalysis, and, above all, the question of how films produce meaning s.

This module considers how American Literature has evolved from its colonial origins, with particular emphasis on key figures of the nineteenth century. The module will be broadly thematic in its approach, aiming to build up through recurring themes, images, questions and stylistic features, an increasingly complex picture of the literature created by English-speaking Americans.

This module centres on the artistically and politically adventurous phase of American filmmaking circa The module will begin with writing that looks back to the First World War and end with writing that anticipates the Second World War. The module will focus on many of the great themes of the period such as exile, unemployment, Englishness, eugenics, militarisation, and political commitment, as well as many of the great cultural motifs of the period such as borders, radios, planes, cars, trains, cameras and telephones.

Close attention will also be paid to many of the great intellectual debates of the period such as the nature of history, the role of the State in everyday life, and the place of literary experimentation in time of war.

Essentials

In this module we will look at a selection of biblical texts alongside literary works that appropriate, rewrite and subvert them. We will be thinking about the Bible as literature; the reciprocal relationship between the Bible and literature; and what the Bible does to a literary text. By the end of the module you should be more familiar and knowledgeable about the Bible, its genres, ideas and narratives, and be able to appreciate its literary qualities. You will develop skills of exploring the relation between a literary text and the biblical text it invokes: in what ways does knowledge of biblical texts provoke more profound readings of literature?

Do rewritings refine or subvert the Bible? Throughout the module we will also have in focus issues related to reading, interpretation and adaptation that will be relevant to your wider studies. This module is designed to provide you with a chance to explore one of America's significant cultural contributions to the twentieth century - the motion picture.

You are introduced to the American cinema through a genre approach to a series of selected films. This entails that you frame the formal and aesthetic aspects of Hollywood filmmaking in an appropriate social, historical, cultural, and industrial context. In considering why certain popular narrative formulas such as the Western and the Gangster are so deeply associated with American commercial screen art, lectures and seminars will attend to movie production as a dynamic process of exchange between the film industry and its mass audience.

The module will give you the opportunity to develop an understanding of a number of basic industrial, aesthetic, social and cultural trends marking Hong Kong films in the contemporary era. The module also emphasises work from the end of the twentieth and beginning of the twenty-first centuries, foregrounding, at all stages, English literature in its international dimensions: we read texts from Africa, South Asia, the Caribbean and Australasia, as well as from multicultural and devolved Britain. They are no longer conscious of their bodies. Instead there are only passing images, a gliding and rustling of dreams.

We remember an alabaster race of beings as if glowing from within. On the screen, enormous objects become superb. A sort of moonlight sculpts a telephone, a revolver, a hand of cards, an automobile. We believe we are seeing them for the first time. The movie world was more real than reality; a massive anthology could be dedicated exclusively to French writers from the s who explored this very paradox. At the end of the decade, Louis Delluc claimed that movie stars themselves were dreamlike creatures, larger than life and irresistibly magnetic.

And to recognize, behind the tragic will of Hayakawa and the comic frenzy of Chaplin, an echo of suffering or dreaming, such is the secret of an infatuation. Perhaps more than Chaplin, though, another American silent comedian recognized the linkages between dreams and cinema. In Sherlock, Jr. Indeed, Sherlock, Jr. But the conceptual crux of Sherlock, Jr. A series of quick edits shows him stepping from a bustling intersection to a steep mountain precipice to an African jungle to a barren desert, all transformed through intricate match cuts.

Dreams and cinema are literally intertwined here; indeed, where else can physical reality seem to change shape within a fraction of a second? Close-ups, montage editing, the hyperreality of the cinematic image: if these magical qualities could resemble dreams, they could also take on the semblance of nightmares. In the silent age, this unsettling truth was realized more potently in Germany than anywhere else. A country that was experiencing its own share of waking horrors at the time, Germany gave birth to directors who transmuted sociopolitical nightmares into distorted cinematic shapes.

As the Great War waned, German artists experimented with bold, pointedly nonrealistic set design, harsh lighting, and topics that gravitated towards insanity, betrayal, and violence. Mabuse , the Gambler , and Metropolis —contained moments of hellish foreboding, pointing toward a social collapse that would take on overstated, monstrous forms. Also in the s, F. Before them all, though, was The Cabinet of Dr.

Sleep and dreams are enfolded into the plot, which concerns the titular doctor and a nearly mute somnambulist, Cesare, whom Caligari controls through hypnosis, keeps in a perpetual trance, and imprisons in a coffinlike cabinet. The Cabinet of Dr. If Caligari represents an autocratic tyrant whose reign of power leads to numerous deaths the prototype for Hitler , the movie suggests that the only social alternative, according to Kracauer, is complete and utter chaos, represented by the bewildering lines and shapes that festoon the claustrophobic sets.

Caligari visualizes some kind of violent societal unrest, a sense of anxiety that clearly tapped into real-world fears of the time. If cinema naturally utilizes the language of dreams, then German Expressionist directors realized they could amplify this language to materialize our worst nightmares—sinister visions that, in the case of Caligari, bore an uncomfortable likeness to real-world traumas. Ulmer among them—emigrated to the US and contributed to a dark, unsettling cinematic movement that would eventually be termed film noir by French critics.

Even by , when the movement was still in full swing, commentators and critics recognized the nightmarish quality of these films. Composed of harsh gradients of light and dark, thick shadows, distorted lines and angles, and urban landscapes that often seem hermetically sealed from the rest of the world, films noir take on the disfigured look of eerily convincing dreams that only appear one step removed from reality.

As Schrader suggests, this may be because of the overlapping influences of German Expressionism and postwar realism, which burgeoned after the war in an attempt to reflect upon real-world tragedies and social forces. The best noir technicians simply made all the world a sound stage, directing unnatural and expressionistic lighting onto realistic settings.