Critical Reflections explores a number of key interdisciplinary philosophical and cultural concepts which will enable you to analyse, engage with, and reflect upon artworks in your own discipline. It also allows you to establish a common set of concepts which can be shared by students from all LICA subjects.

The structure of the module consists of six three-week blocks as follows:

1. Aesthetics
2. Experience
3. Post-structuralism
4. Marx and Post-Marx
5. Waves of Feminism
6. Thinking with the Earth (new materialism)

Regular plenary lectures make connections across the arts, and are supplemented by seminars/workshops which allow students to work in their subject groups (art, film, theatre, design) on ideas and examples specifically tailored towards these disciplines.

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.

The module consists of two interwoven strands, one strand focusing on various modes of American film production, the other exploring 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.

This module combines theoretical and practical approaches to provide an introduction to American and German modern dance pioneers of the twentieth century. It compares their systems of technical training, choreographic methods, signature dance works, and considers the relationship of those systems, methods and works to the social context and philosophical ideas of their time. Assessment is through the choreography and performance of a short trio, and an essay. The module prepares students for more advanced dance and physical theatre projects in later modules.

This practical module provides a comprehensive understanding of compositional strategies and methodologies used in making theatre and performance, whether as a performer or as a director, writer or designer. Particular emphasis will be placed on investigating notions of form and structure and on how performance material can be generated through creative strategies of sourcing, developing and editing material towards a completed work. Assessment is through the production of a performance score and a group practical project.

This module explores different approaches to both the analysis and the production of documentary film. As well as considering a range of styles of documentary film, typically including expository, poetic, observational, reflexive, political, and personal modes of documentary film, you will also examine key debates concerning the ethics of documentary filmmaking. An indicative list of film screenings includes Nanook of the North, Grey Gardens, Dont Look Back [sic], The Arbor, Sans Soleil, Fahrenheit 9/11, The Gleaners and I, and The Act of Killing.

This module will equip students with a critical understanding of twentieth and twenty-first century performance practices that respond to anthropogenic climate change. Students will explore a range of theories and practices relating to ecocriticism and environmentalism.

The module aims to develop an understanding of historically important European films from the 1950s to the 1980s 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.

This third-year 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. 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). Students will be 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).

In this module students will interrogate and critically respond to discourses of national identity in Britain, with an emphasis on de-centring and questioning who frames British identities and shared histories. By engaging with a range of plays and performances staged in the British Isles between 1980 and the present, alongside key postcolonial theory and readings on nationalism and globalization, students will develop an understanding of the different ways in which theatre has played a part in the national conversation about place and identity.

This module develops analytical and practical skills in performing texts, particularly in dramaturgy and composition and vocal and physical performance techniques. Taking into account the respective political, social and aesthetic contexts from which the works emerged, it focuses on modern and contemporary European play texts that are marked by their formal experimentations associated with two major theoretical paradigms: The Theatre of the Absurd and Postdramatic Theatre.

The module explores the playwrights’ formal experimentations with time and space; plot, story and narration; character, persona and ‘text bearer’; language and breakdown of language; rhythm and musicality; as well as the relationship between performer and audience.

Assessment is by group practical project and an essay.

In the Short Film Production module you will develop, produce and complete a short dramatic film. You will be taught and given the opportunity to follow industry standard practices throughout your project. You’ll participate in at least two class productions as both a key role member (roles like Writer/Director, Producer, Cinematographer, Art Director, and Sound Designer/Editor) and a minor role member (roles like Assistant Director, Script Supervisor, Assistant Camera, Gaffer, Grip, Sound Recordist, Boom Operator, and etc.). You’ll keep a production diary outlining your individual contributions, and be given the opportunity to gain real world experience of what working on a film production is like in the various roles. You’ll write up your experiences in an essay critically analysing the production process and outcomes.

You will need to have completed Introduction to Film Studies to take this module.

This module introduces you to community and applied theatre practices that seek to create social, cultural, or political change. You will have the opportunity to explore key theoretical concepts alongside practical skills in facilitation, appropriate to a variety of contexts. You will study examples of applied theatre practice, with an emphasis on techniques that seek to empower marginalised communities and increase political and social dialogue. The syllabus will cover influential practices from around the globe, taking heed of the diversity of approaches and their applicability to contemporary contexts. Core topics may include theatre in education, theatre for development and disability theatre. Assessment is by group practical work and essay.

This practical module is designed to allow you to work collectively to produce an original performance piece informed by material studied in the second year as a whole. Students are supported by a supervisor who will provide feedback on progress throughout the module.

This module introduces practical approaches in visual and image-based theatre and methods of analysing visual theatre and investigating its key histories and models of practice. The module focuses on key approaches to image-based theatre that are central to understanding contemporary visual performance. Each approach interrogates the work of an existing company, which in turn is related to historically important practice from twentieth-century dramatic and/or postdramatic theatre.

The module will practically explore key skills in lighting, sound, digital technologies and scenography with reference to specific practitioners and companies. Assessment of skills and knowledge acquired will be by a practical group project and an essay.

This module will explore the work of some of the most historically important female film-makers from the 1890s 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 decision by Hollywood star and activist Geena Davis to establish a campaigning ‘Institute on Gender in Media’ is a measure of the urgency of this subject.

The module will engage with revisionist film histories concerned with interrogating the dominant bias of academic and popular histories of the medium; it will also draw on feminist film theory concerned both with a critical understanding of mainstream cinema and the development of politicized women’s cinemas. 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. An example of directors included is Alice Guy-Blaché, Dorothy Arzner, Leni Riefenstahl, Ida Lupino, Laura Mulvey, Mira Nair, Kathryn Bigelow, Marziyeh Meshkini, Lynne Ramsay.

Assessment is by a combination of coursework essay and exam.

Drawing on tendencies from both visual art and theatrical fields, contemporary performance has generated multiple approaches to the dynamic relation between text, language and performance. Eschewing the conventional dramaturgical structures of literary theatre, ‘text’ in this parallel history is an unruly, generative force – a writing for performance (and writing as performance) that is by turns highly performative, precise, nonsensical, philosophical and playful.

The module aims to explore a variety of contemporary and historical approaches to writing and performance through both key readings and workshop/seminars as well as practical tasks for you as creative writers and performance makers, establishing a conceptual ground, highlighting and developing strategies for your own work.

You will spend this year working in a graduate-level placement role. This is an opportunity to gain experience in an industry or sector that you might be considering working in once you graduate.

Our Careers and Placements Team will support you during your placement with online contact and learning resources.

You will undertake a work-based learning module during your placement year which will enable you to reflect on the value of the placement experience and to consider what impact it has on your future career plans.

This module allows you to undertake a major independent research project on a topic of your choice, presented in the form of a dissertation or a practice-based project and an essay. The module is taught through lectures focused on research skills and one-to-one supervision. Upon completion, you will be able to demonstrate your ability to undertake a major project that includes conducting research, engaging in a sustained critical analysis of relevant texts, building an argument and applying this to practice.

In this practical module you will work in groups on an intensive practical project that will lead to public performances. Groups work is supported by the module convener and with a supervisor.

This module centres on the artistically and politically adventurous phase of American filmmaking circa 1967-1979. Typically topics studied include:

• Introduction – Hollywood breakdown (Easy Rider, Medium Cool)
• The future of allusion: New Hollywood’s nostalgic mode (The Godfather)
• Popular feminism (Klute, Woman Under the Influence)
• Politics and conspiracy (The Parallax View, All The President’s Men)
• Disaster movies (The Poseidon Adventure)
• Comedy (Annie Hall)
• Exploitation cinema I: blaxploitation (Coffy, Foxy Brown)
• Exploitation cinema II: horror/body genres (The Texas Chainsaw Massacre)
• Blockbuster cinema and the franchise film (Star Wars)
• The end of the New (Apocalypse Now)

This module addresses applied performance projects that are co-created in collaboration with community groups. This may include people living within specific geographic areas, but it might also encompass shared identity traits, experiences, or interests. Students will explore a range of practices that facilitate collaboratively-designed theatre as a means of bringing about positive changes within these communities, and their broader social and cultural settings. Through a consideration of contemporary practitioners from a range of global contexts, students will learn techniques to develop effective community-based projects and to ensure equitable participation and accessibility. Practices studied might cover topics such as intergenerational theatre, street theatre, staged readings, puppetry, participatory arts, storytelling, environmental performance and more. Students will engage with the theories and practices of the module through a combination of lectures, seminar discussions and workshops, culminating in a short community performance project.

The module has two aims. Firstly, it aims to explore methods of improvising or choreographing movement from the practice and study of drawing, and, reciprocally, approaches to drawing that emerge from the experience of movement and the analysis of motion. This is assessed through either a staff-supervised, student-led group choreographic project with documentation or, alternatively, a portfolio of drawings presented at the end of the module. Secondly, the module examines twentieth and twenty-first century works in which choreographers have collaborated with visual artists. This part of the module is assessed through an essay. Teaching is through lecture, seminar and practical compositional exercises in movement and drawing.

This module combines theoretical and practical approaches to explore important European writers, directors and companies by studying their innovative dramaturgies, scenographies, uses of ‘no longer dramatic’ text, and new acting/performing styles. These aesthetic forms are also discussed in relation to the performances’ thematic and political concerns with developments such as globalization and late capitalism, increasing mediatisation, (anti-)immigration, terrorism and the war on terror and ecological concerns, as well as with the enduring memories of the Second World War and a European history of colonialism. Teaching is through lecture, seminar and practical workshop and assessment is by practical presentation and by seen examination.

This module explores Hong Kong cinema from the mid-1980s up to the present – an era whose beginning witnesses the international breakthrough of a new wave of local filmmakers, and which goes on to encompass the early 1990s’ production surge, the 1997 handover to mainland China, the crippling economic crisis, and the outbreak of the SARS virus. 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. These include the emergence and impact of independent production; the rise of ‘high-concept’ filmmaking; the movement toward pan-Asian co-productions; the importance and cross-marketing of star performers and local musical traditions such as Cantopop; the popularity of genres like the swordplay film; and aesthetic tendencies such as episodic plotting and the narrative ‘thematisation’ of politics and identity. Emphasis will be placed not only on representative mainstream product, but also on the emergence of a distinct Hong Kong art cinema, whose presence and success on the international festival circuit has brought artistic credibility to a predominantly popular cinema, and which has heralded the arrival of a fresh wave of local ‘auteur’ filmmakers.

This module addresses a range of 21st century performance practices that respond to climate change. Students will be introduced to a variety of practical and philosophical approaches employed by performance makers to address the relationship between people and the natural world.

Performance examples will range from those that seek to prompt direct intervention in the climate crisis to those that facilitate a shifting sense of being in a more-than-human environment. This might include, for example, plays, performance art, dance, performance activism, or socially engaged practices. Specific topics and practical approaches will reflect teaching staff expertise as well as current issues or events.

In the first half of the module students will be guided by staff to develop their own site-specific practical project, drawing on a specific model of practice. Following this, students will expand their critical understanding of relevant case studies and theoretical frameworks in a series of lectures and seminars. Assessment is by practical and essay.

This module provides an opportunity for students to develop an understanding of the ways in which creative practitioners produce and deliver their work. It will provide an overview of the challenges faced by freelance practitioners, producers and small cultural companies within the creative industries. You will also develop a working understanding of the key management and enterprise skills involved in delivering creative projects. Working in groups you will put your learning into practice through the delivery of your own live creative arts project. This will enable you to understand the skills, knowledge, attributes and behaviours relevant for employment in the arts and creative industries.

This module offers a broad overview of the history of the musical genre in cinema. It begins by examining the use of sound in silent cinema before focusing on the original success of musicals with the arrival of synchronised sound in 1927. The module then tracks the success of movie musicals from the 1930s-1950s, with particular focus on Hollywood successes of MGM, Busby Berkeley, the Astaire-Rogers cycle and the emergence of the self-reflexive musical. Elements of the Hollywood musical in the 1960s and beyond are then studied, with a focus on the importance of the musical soundtrack in Saturday Night Fever (1977) and other films. The module will also examine other traditions where the Musical has been significant, such as India and France. In addition to this, aspects of race, gender and sexuality in the movie musical will be discussed. Some recent Hollywood successes (such as La La Land [2016] or The Greatest Showman [2017]) are studied towards the end of the module in the light of the Musical tradition

This module combines theoretical and practical approaches to explore new scenographic approaches to contemporary performance. The module is structured to introduce you to the theories and histories of scenography and then progresses to locate scenography through the theatre, through technology and finally in relation to site. The module is focused around four cutting edge contemporary theatre companies (previous examples include The Wooster Group, Need Company, Imitating the Dog) used as paradigms to introduce you to the ways in which text, the body, light, visual/spatial organization, technology and choreography are used as scenographic tools to create specific and unique instances of contemporary performance. Teaching is through lecture, seminar and practical workshop and assessment is by practical workshop and seen exam.

This module offers an introduction to the broad area of silent cinema and to a range of critical approaches to this rich area of study. You will have the opportunity to view and analyse a number of important films. We will also explore a number of critical questions raised by this material with regard to the writing and study of histories of cinema (and popular culture in general). We will examine the relationships between technology and form, the economics of film production, distribution and reception, the relationship between cinema and national identity, the social and cultural impact of new (entertainment) media and the study of cinema audiences.

‘Transgressive Cinema’ is a practice-based module that aims to broaden students’ understanding of film as a form of political enquiry. The module introduces students to critical practices in film, video and expanded cinema that favour process over the end-product. Among the key questions the module addresses are the following: How can film go beyond describing and critiquing the world “as is” and constitute the critique formally? What are the political implications of a film’s formal construction? How do we identify legacies of colonialism in filmic construction and how do we challenge them through creatives devices that transgressive cinema offers? How do we problematise the dominant forms of spectatorship in film practice?

So, while these questions involve rigorous thinking, in practice the module offers a platform where playful experimentations are encouraged. Bringing critical thinking and making into focus, the module invites students to re-examine the dominant aesthetic and narrative conventions of the film/video medium and explore formal elements and their political implications in theory and by practice.

Over the course of this module, students will engage in topics such as: - What is "transgressive cinema" (historically and in recent practices) - Materialist film practices in Britain and the wider European context (1965-1985) - Challenging the perception of language: use of voice, narration, and text as image - Identity politics and video - Queer practices - Performing to camera - Camera-less films - Expanded Cinema - Multiple screens - Abstract film and video. These topics will be explored by students via watching the assigned films, discussing the relevant texts in relation to films and responding to series of practical briefs/tasks to experiment with those ideas.