MA by Research FILM, THEATRE AND TELEVISION

Title:

Entrepreneurial Management for Creative Artists.

Code:

MMM110

Convenor:

DR Norbert Morawetz

Summary:

This is a dynamic module introducing students to key aspects of starting a creative enterprise.

Assessment Method:

Practical 30%, Project 70%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Management in Creative and Cultural Organisations

Code:

MMM087

Convenor:

PROF Peter Miskell

Summary:

This module examines organisations that are engaged in creative or cultural activities. It explores the management challenges they face, and their strategies for addressing them. This module is co-taught with Dr Evelyn Fenton.

Assessment Method:

Assignment 40%, Report 60%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Financing for Creative Entrepreneurship

Code:

MMM094A

Convenor:

DR Maksim Belitski

Summary:

How can creative entrepreneurs raise finance for their creative project? This module introduces students to the various forms of financing for creative entrepreneurship as a process of entrepreneurship with a special focus on debt, equity financing, alternative financing and reward –based crowdfunding.

Assessment Method:

Assignment 60%, Oral 40%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

International and Comparative Intellectual Property Law

Code:

LWMTII

Convenor:

MR Adrian Aronsson-Storrier

Summary:

The module explores the law and regulation of intellectual property from an international and comparative perspective. Subject to discussion will be the international instruments that offer the minima of protection in copyright, patents, trade marks, designs. These include the WIPO Internet Treaties, the TRIPS Agreement, the Berne Convention, the Rome Convention, the Madrid Agreement and Protocol, the Paris Convention. Although intellectual property protection has been harmonised at international level, intellectual property laws remain inextricably territorial. Some areas in which protection differs from jurisdiction to jurisdiction will be discussed in the form of case studies.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Internet Law

Code:

LWMTWB

Convenor:

DR Basak Bak Tezgel

Summary:

The module explores the issues related to the law and regulation of the ‘borderless’ internet. These include allocation of jurisdiction; e-privacy and data protection; liability of Internet Service Providers (ISPs) for online crimes and infringements; regulation of domain names; legal issues of cloud computing, software licensing and ‘open source’ distribution; data ownership, big data and mass digitization projects; freedom of speech on the internet and intellectual property issues of the information society.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Intellectual Property Law: Patents and Trade Marks

Code:

LWMTTT

Convenor:

MR Adrian Aronsson-Storrier

Summary:

This module provides advanced knowledge of the legal protection that is afforded to inventions, trade names and brands. Students will be encouraged to critically assess statutory provisions and common law principles that govern patents and trade mark law, as well as the rationales justifying particular doctrines and the effects of the practical operation of these doctrines.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Intellectual Property Law: Copyright and Designs

Code:

LWMTCC

Convenor:

DR Basak Bak Tezgel

Summary:

This module provides advanced knowledge of the legal protection that is afforded to creative works and industrial designs. Students will be encouraged to critically assess statutory provisions and common law principles that govern copyright and design law, as well as the rationales justifying particular doctrines and the effects of the practical operation of these fields of intellectual property. Subject to discussion will be emergent topics in the area of copyright and design law, such as online copyright infringement, internet platform liability, artificial intelligence and parallel trade issues.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Film Programming and Film Festivals

Code:

FTMFF

Convenor:

PROF Lucia Nagib

Summary:

This is a team-taught module, drawing both on representatives from the industry and on strength across the university. Through a dynamic combination of seminars, workshops and group projects, the module will equip students with advanced knowledge of modes of programming arthouse, alternative and experimental venues, as well as organising film festivals. Film festivals work as an effective (and sometimes unfair) filter of the kind of world cinema distributed to commercial and alternative venues around the world. Winners of Cannes, Venice and Berlin will almost certainly find worldwide distribution, as opposed to thousands of other films, which will run through minor festival circuits in the hope of accessing smaller or niche venues and audiences. Film festivals (such as Sundance, Rotterdam and others) are also closely connected with funding systems for independent filmmakers, who will format their projects with a view to satisfying their requirements. Understanding how both film festivals and film programming work is hence key to understanding the kind of world cinema we watch.

Assessment Method:

Assignment 40%, Portfolio 60%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Film Production

Code:

FTMFP

Convenor:

DR Tonia Kazakopoulou

Summary:

This module enables students to develop new and enhance existing skills in film production through making short films in response to one or more briefs and exercises. Some of these short projects will be anchored in the study of particular dimensions of film or television form and in the critical / theoretical study of films and programmes. Other exercises may be ‘real jobs’, responding to clients, competitions, collaborations or other stimuli from within and beyond the university: some flexibility is deliberately built into the module to enable response to exciting opportunities as they emerge. The range of forms of production may vary from single camera location shooting to multi-camera studio drama. In every case the projects will be supported by appropriate technical workshops and masterclasses, while the creative process and the finished work will be guided though class discussion and in structured critical reflection.  The module works best when other knowledges from across the course are used in synergy with this Film Production.

Assessment Method:

Oral 10%, Project 70%, Report 20%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Film Practice or Dissertation

Code:

FTMFPD

Convenor:

PROF Lucia Nagib

Summary:

The film practice or dissertation module constitutes a major element in the assessment profile of the degree and enables students to demonstrate their knowledge and skills in Film Studies through an extended project focussing on a particular critical or theoretical issue or subject. The module can be taken in two different directions: (1) a practical filmmaking project of 10-15 mins with written documentation of 5,000 words, (2) a traditional written dissertation of 15,000 words.

Assessment Method:

Project 60%, Report 40%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Work Placements and Pathways (Twenty Credits)

Code:

FTMPL20

Convenor:

DR Veronica Rodriguez Morales

Summary:

This optional module aims to provide an opportunity for career development through reflective learning. Students will either a) self-organise a placement to undertake in an industry or organisation of their choice or b) undertake a detailed examination of an industry, organisation or role of their choice. Students will then construct a written assessment which provides the opportunity for critical reflection on their placement or selected portfolio. 

Early in the year, a session will provide dynamic advice on how to secure a placement. Students will work collectively to self-organise a series of relevant industry speakers, and will conduct research on the industry sector that most interests them. Students will develop their approach to the written assessment supported by workshop discussion, and tutor and peer feedback, and in doing so will also develop their pitching and presentation skills.

Assessment Method:

Portfolio 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

Film Aesthetics

Code:

FTMAE

Convenor:

MS Alison Butler

Summary:

This module will develop students’ understanding of the complex relationships between form, style, meaning and ideology in cinema. Through the close study of a set of films and key debates in the study of film aesthetics, the module will foster sophisticated skills of film analysis in order that students can articulate the form and consequences of filmmaking decisions. The module aims to expand students’ knowledge of the relationships between production practices and film aesthetics. Emphasis will be placed on film as a collaborative medium, so that students can produce extended analyses of specific elements of film aesthetics and production. While classes will generally work from the film outwards – that is, from textual analysis to contextual analysis and back again – students will be encouraged to engage with critical approaches that specifically bear on techniques of film analysis and interpretation. The module will help students to become more conscious of the ways in which they can approach film aesthetics and how their methodologies relate to film studies’ history. The investigation of film aesthetics will inform a range of other modules on the programme.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.

Title:

World Cinema: Presenting and Representing Reality

Code:

FTMWCR

Convenor:

PROF Lucia Nagib

Summary:

According to Thomas Elsaesser, ‘European art/auteur cinema (and by extension, world cinema) has always defined itself against Hollywood on the basis of its greater realism’. The module will take this assumption as a starting point to investigate whether some films can effectively be more realist than others. Rather than opposing European and world cinema to Hollywood, it will identify the kinds of realist (or anti-realist) procedures that can be associated with different cinemas of the world. Creative peaks, leading to the formation of so-called ‘new waves’ and ‘new cinemas’, will be viewed through the drive to engage with the physical reality on the part of crews and casts, resulting in a presentational mode of address that preserves the contingent and unpredictable event in their narrative mesh. In contrast, narrative films eliciting what is normally termed an ‘impression of reality’ tend to resort to a representational mode of address that irons out the unpredictable event in order to preserve the verisimilitude of the fable. A variety of case studies from different periods and places will enlighten students on these two basic presentational and representational modes, as well as on a number of related concepts and topics, such as indexicality, perceptual realism, reality effect, the reality of the medium, realist schools and movements, and documentary practices.

Assessment Method:

Assignment 100%

Disclaimer:

Please note that all modules are subject to change.
The information contained in this module description does not form any part of a student’s contract.