Film and Television Cultures and Aesthetics Essay: Module Report, UH

This report provides an overview of the Film and Television Cultures and Aesthetics module, which aims to equip students with the skills to critically analyze film and television programs. The module, assessed by coursework, focuses on understanding how critical and cultural debates influence media aesthetics. The report details the module's structure, including lectures, seminars, and tutorials, and outlines the assessment criteria, which includes an academic essay. It also emphasizes the importance of independent study, attendance, and the use of StudyNet resources. The reading list and assessment details including the learning outcomes assessed are also provided. The report also includes important notes on academic integrity, ethics, and student support.

Introduction to the module
This module aims to encourage students to see contextual studies as a vital tool to develop well informed
and innovative production practice in Film and Television. A programme of lectures, seminars, tutorials and
screenings provides students with the opportunity to encounter a wide range of international film and
television programmes and a selection of media theories, debates and critical perspectives with which to
interrogate them. The module will focus on developing student’s understanding of how critical and cultural
debates impact upon media aesthetics. To complement discipline-specific studies, this module aims to
provide students with a repertoire of study skills of research and enquiry, skills in visual and critical analysis
of both artefacts and ideas and communications skills in written and verbal forms including the protocols of
academic reference.
This module is assessed by 100% coursework. Centred on the study of selected film or television
programmes, students will be required to undertake two assessed pieces of work including an academic
essay of between 3,000-3,500 words.
Key Information
1. Film and Television Cultures and Aesthetics will be delivered by a lecture, seminar, screening
and tutorial series. All students will attend a lecture, and then split into groups for an hour of
seminar activity. Any remaining timetabled hours outside of this should be utilised as part of
directed or independent study time.
Contact Time: All students are expected to attend lectures, seminars and screenings. All classes
will be on Monday mornings in LC108 in the Wright Building from 9-1 pm. All students will attend
lectures and screenings together in one session and will be split into seminar groups of one hour in
subsequent weeks. The seminars will be student-led and will consist of small groups who will take
the initiative for organising the session. Please take note of the module delivery plan for details of
when lectures and seminars are to be held. Seminar groups will be posted on StudyNet under
Module Information.
The module leader will be available for drop-in tutorials on a weekly basis on Tuesday morning from
9.45-10.45 in the Gallery Café.
2. Requirements / Support / Resources:
Attendance: Full attendance is expected to all lectures, as failure to do so will seriously affect your
ability to pass this module. If you are unable to attend, for any reason, then you must email the
module leader before the lecture to inform them. If you have any extenuating circumstance that
requires you to miss a lecture, then a written letter must be provided to the module leader as proof.
Assessment: Assessment Pattern: 40% Semester A and 60% Semester B. Typically this might
consist of a study folder, project, report or close textual analysis and will include one formal
academic essay.
Assessment rationale: All the coursework relating to this module is subject to assessment based
on the fulfilment of the Module Aims, as shown by the student's ability to demonstrate the Learning
Outcomes appropriate to this level of study.
The student need not pass all assignments to complete the module, as their performance across
both assignments will be aggregated to determine the overall module grade.
An accumulated grade of at least 40% across the module is required to pass.
Support: This module is supported by additional material on StudyNet. It is the students' own
responsibility to take their own notes during classes and to undertake the required reading in their
own study time in preparation for the seminars and assignments. It is essential for students to
research and prepare independently as the lectures, seminars and screenings form only part of the
required study for this module. Students who engage thoroughly with independent study are likely
to be more successful on the module.
Creative Arts Module Guide 2016/17 page 1 of 12

Students with a disability must ensure they are registered as such with the course registrar, before
the end of the module (and preferably at the start of the module) to ensure they received the
support they require. For assistance with this, speak to your year tutor or to the module tutor.
Module staff may, from time-to-time provide information about the module via email. Students must
ensure that they check their own UH email account on a daily basis. Staff will not be able to send
emails to personal external email accounts.
Students are expected to do all necessary essential reading, a comprehensive reading list will be
provided on StudyNet. PLEASE NOTE: There will be WEEKLY set texts that you are required to
read before seminars. These readings will not only structure the seminar discussions but will form
the basis of the first assignment and inform your final essay assignment at the end of the year.
Students are expected to view all essential screenings.
The DMD for this course will be available on StudyNet under Teaching Resources.
IMPORTANT NOTES FOR ALL UH MODULES:
A) Any student who submits work for assessment deems themselves to be sufficiently fit and well to
undertake that assessment - students may NOT later claim to have serious adverse circumstances in
respect of the assessment. Serious Adverse Circumstance forms must be submitted no later than 2
days after the deadline for the coursework affected.
Please read the Guidance within the School’s STUDENT/PROGRAMMES HANDBOOK for further
information regarding Serious Adverse Circumstances, HERE.
http://catoolkit.herts.ac.uk/toolkit/9-3-serious-adverse-circumstances/
B) Students with an overall Module Numeric Grade below 20% will likely not be offered the opportunity
for a referral in a failed module. Thus attendance and engagement in all aspects of Teaching,
Learning and Assessment are essential to ensure successful completion of any module.
C) The Ethics Committee must approve ALL coursework that involves ‘human participants’. Applications
should be made to the committee at least two weeks before the start of a project. Approved
application will receive a protocol number and this should be submitted as part of the module
submission.
If students undertake work that involves human subjects without the prior approval of the ethics
committee they may incur an academic penalty. Guidance on how to make an application is
contained in the School’s STUDENT/PROGRAMMES HANDBOOK, HERE.
http://catoolkit.herts.ac.uk/toolkit/5-ethics/
D) All students are advised to read the School’s STUDENT/PROGRAMMES HANDBOOK. The
handbook provides information concerning many aspects of study, inc. how to submit your
coursework, how your work will be marked, late work, serious adverse circumstances, key contacts
for support, etc. The Handbook is available on line with a full search facility, HERE.
http://catoolkit.herts.ac.uk/
Creative Arts Module Guide 2016/17 page 2 of 12

3. Module Aims: (taken directly from the DMD)
Aims
To develop critical insight into a range of Film and Television practices and debates and locate their
own practice within a wider cultural context.
To understand how cultural, aesthetic, theoretical, social, economic and professional forces may
inform contemporary practice and use those insights to reflect upon student’s own practice.
To extend study and enquiry skills, evaluating sources and experiences.
To develop skills in critical analysis which inform their discipline practice.
To communicate ideas clearly in a variety of forms using the conventions of academic reference.
4. Module Learning Outcomes: (taken directly from the DMD, a numbered list)
Ref. Knowledge and Understanding: (Successful students will typically…)
1. Have knowledge and understanding of recent and contemporary Film and Television practices
and the cultural, commercial, professional and institutional forces that shape them.
2. Have knowledge and understanding of some of the histories, theories and critical issues and
debates that inform recent and contemporary Film and Television practices.
3. Have knowledge and understanding of some of the ways in which critical and cultural issues
can be used as a tool to interrogate and develop their own practice.
Ref. Skills and Attributes: (Successful students will typically…)
4. Be able to study in a self-reliant manner by setting goals, managing their own learning,
coordinating workloads, attending scheduled teaching sessions and meeting deadlines in
response to set briefs or self initiated study.
5. Develop further skills in critical analysis including an ability to identify appropriate questions for
enquiry; formulate independent judgments; articulate reasoned arguments; and respond to the
critical views of others.
6. Manage the processes of enquiry using a variety of resources to gather material, evaluate
sources and experiences, document findings and develop a line of reasoning supported by
evidence.
7. Communicate effectively in written, spoken and visual forms with due consideration for register,
vocabulary and academic conventions of reference.
Creative Arts Module Guide 2016/17 page 3 of 12

Assessment Details:
The student need not pass all assignments to complete the module, as their performance across both
assignments will be aggregated to determine the overall module grade.
An accumulated grade of at least 40% across the module is required to pass.
Assignment
Title
Weighting
% of total
Type Deadline Learning Outcomes Assessed Anonymous
Assessment?
2. Essay 60% CW 23 March
2017
1-7 
NOTE: The University has a policy that where possible, all summative student work should be submitted and marked
anonymously (ie. tutors will not know the identity of the student at the point of assessment). However there are
published exceptions to this policy for specific kinds of coursework and, given the particular nature of staff-student
working and assessment methods within our School, it is recognised that it will not often be possible to mark all work
anonymously in a fair or meaningful way. With the exception of those assessments ticked above (if any) - it is judged
that the assessment within this module is covered by the University’s exemptions (and will therefore NOT be
anonymously marked).
NOTE: Tutors will refer to SCHOOL-LEVEL GRADING CRITERIA when assessing your work and determining an
appropriate mark to award. You can see the School-Level Grading Criteria HERE
< http://catoolkit.herts.ac.uk/toolkit/school-level-grading-criteria/ >
10. Additional Information
Reading List Film and TV Cultures and Aesthetics 2015-16
All electronic resources must be accessed via Voyager. Sign in to Athens resources and click on the link.
This is a comprehensive reading list. While students are not expected to read everything on the list you
are expected to read the weekly ‘required reading’ (emboldened and marked with two asterisks). These
readings must be completed before class and will form the basis of the seminar discussions as well as the
first assignment.
Every attempt has been made to provide electronic reading, and all of the essential reading is available
either as an electronic resource or has been uploaded to StudyNet under ‘Teaching Resources’ but in
some cases only printed books are available at De Havilland campus. Where reading is deemed essential
and is only in printed form, the relevant chapter will be uploaded to StudyNet. This is indicated in the
reading list.
Creative Arts Module Guide 2016/17 page 4 of 12

LECTURE 1
GENERAL READING - CULTURE, IDEOLOGY AND AESTHETICS
Anderson, B. (1991 c2006) Imagined Communities: Reflections on the Origin and Spread of Nationalism,
London/New York: Verso. Particularly Introduction. Reproduced on StudyNet.
Bignell, J. An Introduction to Television Studies, Abingdon: Taylor and Francis, Particularly section on
Television Cultures pp 67-92. Available as an electronic resource.
Bordwell, D. and Thompson, K. (c2008) Film Art: An Introduction, 8th ed, New York: McGraw Hill. 791.4301
BOR
Cook, P. (ed.) (2007) The Cinema Book, London: British Film Institute. 791.43 CIN
Creeber, G. (2013). Small Screen Aesthetics: From TV to the Internet, London: BFI. 791.4501 CRE
Durham, M. G. and Kellner, D. M. (Eds) (2006) Media and Cultural Studies: Keyworks, London:
Blackwell Publishing. Particularly Part 1: Culture, Ideology and Hegemony pp 1-87. Chapter 13
‘Encoding/Decoding’ by Stuart Hall, pp 163-173. Available as an electronic resource.
Hall, S. (ed.) (1997) Representation: Cultural Representations and Signifying Practices, London:
Sage/OU. 306 REP
** REQUIRED READING Johnson, C (2007), ‘Negotiating value and quality in television
historiography’ in Helen Wheatley (ed) Re-Viewing Television History: Critical Issues in Television
Historiography, London: I. B. Tauris pp 55-66 . Available as an electronic resource.
** REQUIRED READING: Lull, J. (2003). Hegemony. In Dines, Gail and Humez, Jean M. (eds.),
Gender, Race, and Class in Media: A Text-Reader, pp. 61-66. London: Sage.
Reproduced on StudyNet. 302.23 GEN
Storey, J. (2009) Cultural Theory and Popular Culture: An Introduction, Edinburgh: Pearson Education.
Available as an electronic resource.
Williams, R. (1981) Culture, London: Fontana. 306 WIL
Woodward, K. (ed.) (1997) Identity and Difference, London: Sage. 305 IDE
LECTURES 2 & 3
AESTHETICS (1) – EDITING AND NARRATIVE
Bazin, A. (1967), What is Cinema? California: University of California Press / Cambridge: Cambridge
University Press. 791.43 BAZ
Bazin, A. and Cardullo, B. (2011) Andre Bazin and Italian Neorealism, New York: Continuum
International Publishing. Available as an electronic resource.
Bordwell, D. (1997) Narration in the Fiction Film, Abingdon: Routledge. 791.4301 BOR
Cook, L. (2003) British Television Drama: A History, London BFI. Particularly ‘The Early Development
of Television Drama, 1936-54’ pp 7-28 and ‘British Television Drama Comes of Age, 1962-9’ pp 64-73.
Dancyger, K. (2010) The Technique of Film and Video Editing History, Theory, and Practice (5th ed),
Abingdon: Taylor & Francis. Available as an electronic resource.
Eisentstein, S. (1949) Film Form, Florida: Harcourt Brace Jovanovich. 791.43 EIS
Goodwin, J. (c1993) Eistenstein, Cinema and History, Illinois: University of Illinois Press
791.430233092 GOO
Creative Arts Module Guide 2016/17 page 5 of 12

Hayward, S. (2006) Cinema Studies: The Key Concepts, London: Routlege. Available as an electronic
resource.
Lay, S. (2002) British Social Realism: From Documentary to Brit Grit, London: Wallflower
791.436550941 LAY
**REQUIRED READING: Robertson, R. (2010) Eisenstein on the Audiovisual: The Montage of
Music, Image and Sound in Cinema. London: I.B. Tauris. Introduction pp 1-12. Available as an
electronic resource.
Valk, M. de. (2013) The Film Handbook, Abingdon: Taylor and Francis. Available as an electronic
resource.
LECTURES 4 & 5
AESTHETICS (2) – MISE-EN-SCENE
Bordwell, D. and Thompson, K. (c2008) Film Art: An Introduction, 8th ed, New York: McGraw Hill.
791.4301 BOR
Creeber, G. (2013). Small Screen Aesthetics: From TV to the Internet, London: BFI. 791.4501 CRE
** REQUIRED READING: Gibbs, J. (2012) Mise-en-Scène: Film Style and Interpretation. London:
Wallflower. ‘The elements of mise-en-scène’, pp 12-31 Available as an electronic resource.
Jacobs, J., and Peacock, S. (2013) Television Aesthetics and Style, London: Bloomsbury. Available as
an electronic resource.
Lobrutto, V. (2005) Becoming Film Literate The Art and Craft of Motion Pictures, Santa Barbara: ABC-
CLIO. Available as an electronic resource.
Martin, A. (2014) Mise en Scène and Film Style From Classical Hollywood to New Media Art,
Basingstoke: Palgrave Macmillan. Available as an electronic resource.
Otnes, Cele C.; Zayer, Linda Tuncay (2012) Gender, Culture and Consumer Behaviour, Abingdon:
Taylor & Francis. Available as an electronic resource.
Sarris, A. (1979), ‘Notes on the Auteur Theory’, in Gerald Mast and Marshall Cohen (eds.), Film Theory
and Criticism: Introductory Readings, 2nd Edition Oxford: Oxford University Press, pp. 650-665
791.4301
Sikov, E. (2010) Film Studies: An Introduction, Columbia: Columbia University Press. Available as an
electronic resource.
LECTURES 6 & 7
CULTURE THROUGH FILM AND TV (1) - GENDER
(WOMEN)
Brunsdon, C. (2000) The Feminist, The Housewife and the Soap Opera, Oxford: Clarendon.
302.2345082 BRU
Durham, M. G. and Kellner, D. M. (Eds) (2006) Media and Cultural Studies: Keyworks, London:
Blackwell Publishing. Particularly Part IV: The Politics of Representation. Available as an electronic
resource.
Geraghty, C. (1991) Women and Soap Opera: A Study of Prime Time Soaps, London: Polity.
302.2345 GER
Gill, Rosalind. (2007) Gender and the Media, Cambridge: Polity Press. 302.23082 GIL
Creative Arts Module Guide 2016/17 page 6 of 12

Gledhill, Christine (ed) (1987) Home is Where the Heart is: Studies in Melodrama and the Woman’s
Film. 791. 43652042 HOM
Humm, M. (1997) Feminism and Film, Edinburgh: Edinburgh University Press.
791.43082 HUM
Kaplan, E. Ann, (1983) Women and Film: Both Sides of the Camera, London: Methuen.
791.43 KAP
Kaplan, E. Ann (1992) Motherhood and Representation The Mother in Popular Culture and Melodrama,
New York: Routledge. Available as an electronic resource.
Kuhn, A, (1982) Women’s Pictures: Feminism and Cinema, London: Routledge.
791.430230922 KUH
Lotz, A. (2006) Redesigning Women: Television After the Network Era. Illinois: University of Illinois
Press.
McCabe, J. & Akass, K. (eds.) (2006) Reading Desperate Housewives: Beyond the White Picket
Fence, London: I.B. Tauris. Particularly Part 3: Genre, Gender and Cultural Myths, pp 119-167.
Available as an electronic resource.
McCabe, J. (2004) Feminist Film Studies: Writing the Woman into Cinema (Short Cuts), Columbia.
Available as an electronic resource.
**REQUIRED READING: Mulvey, L. (1975), ‘Visual Pleasure and Narrative Cinema”, Screen, Vol
16 Issue 3, pp 6-18.
Available as an electronic resource.
Mulvey, L. (1989), Visual and Other Pleasures, Basingstoke: Macmillan. 704.9424 MUL
** REQUIRED READING: Press, A. (2009), ‘Gender and Family in Television’s Golden Age and
Beyond’ in The Annals of the American Academy of Political and Social Science, Volume 625,
No 1. pp 139-150. Available as an electronic resource.
Nochimson, M. (1992) No End to Her: Soap Opera and the Female Subject, California: University of
California Press. 791.456 NOC
Thornham, S. (2007) Women, Feminism and Media, Edinburgh: Edinburgh University Press. Available
as an electronic resource.
Woodward, K. (1997). Introduction, ‘Concepts of Identity and Difference’. In Woodward, Kathryn (ed.),
Identity and Difference, pp. 1-29. London: Sage. Reproduced on StudyNet. 305 IDE
(MEN)
Brod, Harry (2002). “Studying Masculinities as Superordinate Studies.” In Kegan Gardiner, Judith (ed.),
Masculinity Studies and Feminist Theory, pp 161-175. Columbia: Columbia University Press.
Butsch, Richard (2003). “Ralph, Fred, Archie and Homer: Why Television Keeps Re-creating the White
Male Working-Class Buffoon.” In Dines, Gail and Humez, Jean M. (eds.), Gender, Race, and Class in
Media: A Text-Reader, pp. 575-585. London: Sage. 301.1411 GEN. Reproduced on StudyNet.
Howard, D. L. (ed.) (2010) Dexter: Investigating Cutting Edge Television, London: I.B. Tauris. Available
as an electronic resource.
Lavery, D. (ed.) (2002) This Thing of Ours: Investigating The Sopranos, Columbia: Columbia University
Press/London: Wallflower. 791.4572 THI
Lavery, D. (ed.) (2006) Reading the Sopranos: Hit TV From HBO, London: I.B. Tauris. Available as an
electronic resource.
Creative Arts Module Guide 2016/17 page 7 of 12

Lavery, D., Howard, D. L. and Levinson, P. (eds.) (2011), The Essential Sopranos Reader, Kentucky:
The University Press of Kentucky. Available as an electronic resource.
** REQUIRED READING: Lotz, Amanda D. (2014). Cable Guys: Television and Masculinities in
the 21st Century, New York: NYU Press. Intro. pp 1-18. Available as an electronic resource.
Martin, B., Difficult Men: Behind the scenes of a Creative Revolution, Inukshuk Press 2012.
791.45097309049 MAR
Perbedy, D. (2011) Masculinity and Film Performance: Male Angst in Contemporary American Cinema,
Basingstoke: Palgrave Macmillan. Available as an electronic resource.
Reeser, T. W. (2011) Masculinities in Theory: An Introduction, Wiley. Available as an electronic
resource.
Spicer, A., (2001) Typical Men and the Representation of Masculinity in Popular British Cinema,
London: I.B. Tauris. Available as an electronic resource.
Walsh, F. (2010) Male Trouble: Masculinity and The Performance of Crisis, New York: Palgrave
Macmillian Ltd. Available as an electronic resource.
LECTURES 8 & 9
CULTURE THROUGH FILM AND TV (2) - RACE
Barker, C. (2000). ‘Ethnicity, Race and Nation’ in Cultural Studies: Theory and Practice, pp. 193-223.
London: Sage. 306.071 BAR
Bobo, J., (1995) Black Women as Cultural Readers, Columbia: Columbia University Press.
305.48896073 BOB
Bogle, D. (2003) Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in
American Films, ‘Black Beginnings: From Uncle Tom's Cabin to The Birth of a Nation’, pp 3-34. New
York: Continuum. 791. 436520396073 BOG
** REQUIRED READING: Bogle, D. (2002) ‘The 1950s: Scraps’ in Primetime Blues: African
Americans on Network Television, Farrar, Straus and Giroux. Reproduced on StudyNet. 251-364
Boskin, J. and Dorinson,J. ‘Ethnic Humor: Subversion and Survival’ in American Quarterly, Vol. 37, No.
1, Special Issue: American Humor (Spring, 1985). Available as an electronic resource.
Dates, Jannette; Bodroghkozy, Aniko; Lear, Gloria, ‘Range and Shade: TV’s women of colour’ in
Television Quarterly, 03/1994, Volume 27, Issue 2. Availalble as an electronic resource.
Diawara, M. (2012) Black American Cinema, New York: Taylor & Francis. Available as an electronic
resource.
Etheridge, B. D. (2008) ‘Baltimore on The Wire: The tragic moralism of David Simon’ in Leverette, M.
Ott, B.L. and Buckley, C. L. (eds.) It’s Not TV: Watching HBO in the Post-Television Era, New York:
Routledge. Pp 152-164. Available as an electronic resource.
** REQUIRED READING: Hall, S. (1994). ‘The Whites of Their Eyes: Racist Ideologies and the
Media’ in Dines, Gail and Humez, Jean M (eds), Gender, Race, and Class in Media: A Text-
Reader, pp 89-93, London: Sage. 302.23 GEN
Reproduced on StudyNet.
Creative Arts Module Guide 2016/17 page 8 of 12

Mascaro, T. A. (2005) ‘Shades of black on Homicide: Life on the Street: Advances and retreats in
portrayals of African American women’ in The Journal of Popular Film and Television, Vol 33, Iss 2.
Available as an electronic resource.
Nelson, A. M. S. (1998). ‘Black Situation Comedies and the Politics of Television Art’ in Kamalipour, Y.
R. and Carilli, T. (eds.), Cultural Diversity and the US Media. Albany: State University of New York
Press. 302.2308900973 CUL
The Wire Files in darkmatter: in the ruins of imperial culture (4). Available as an electronic resource.
Mistry, R. ‘Can Gramsci’s theory of hegemony help us to understand the representation of ethnic
minorities in western television and cinema?’ Available as an electronic resource.
Malik, S. (2001). Representing Black Britain: Black and Asian Images on Television. London: Sage.
791.4508996041 MAL
Williams, L. (2015) On the Wire, North Carolina: Duke University Press. 791.4572 WIL
LECTURES 10 & 11:
CULTURE THROUGH FILM AND TV (3) - QUEERING THE TEXT
Aaron, M. (ed.) (2004) New Queer Cinema: A Critical Reader, Rutgers University Press.
791.43653 NEW
Akass, K. and McCabe, J. (eds.) (2009) Reading The L Word: Outing Contemporary Television,
London: I.B. Tauris. Available as an electronic resource.
** REQUIRED READING: Becker, R. (2004). “Prime-time TV in the Gay Nineties: Network
Television, Quality Audiences, and Gay Politics.” In Allen, Robert C. and Hill, Annette (eds.), The
Television Studies Reader, pp. 389-403. London: Routledge. 384.55 TEL
Reproduced on StudyNet.
Benshoff. G. (2005) Queer Images: A History of Gay and Lesbian Film in America, Rowman &
Littlefield. Available as an electronic resource.
Chambers, S. A. (2009) The Queer Politics of Television, London: I.B. Tauris. Available as an
electronic resource.
Cohan, S. (2007) “Queer Eye for the Straight Guise: Camp, Postfeminism and the Fab Five's
Makeovers of Masculinity.” In Tasker, Y. and Negra, D. (eds.) Interrogating Postfeminism: Gender and
the Politics of Popular Culture, pp 176-200. Durham, N. Carolina: Duke University Press. Available as
an electronic resource.
Dyer, R. and Pidduck, J. (2003) Now You See It: Studies in Lesbian and Gay Film, London: Routledge.
Available as an electronic resource.
Dyer, R. (2012), The Culture of Queers, London: Taylor & Francis. 791.43653 DYE.
Elledge, J. (2010) Queers in American Popular Culture, New York: Praeger ABC-CLIO. Available as an
electronic resource.
Gauntlett, D. (2002) “Queer Theory and Fluid Identities.” In Media, Gender and Identity: An
Introduction, London: Routledge. Pp: 134-151. Available as an electronic resource.
Heller, D. (2013) Loving the L Word: The Complete Series in Focus, London: I.B. Tauris. Available as
an electronic resource.
Juett, J. C. (2010) Coming Out to the Mainstream: New Queer Cinema in the 21st Century, Cambridge:
Cambridge Scholars Publishing. Available as an electronic resource.
Creative Arts Module Guide 2016/17 page 9 of 12

Rich, B. R. (2013) New Queer Cinema: The Director’s Cut, North Carolina: Duke University Press.
Available as an electronic resource.
Tropiano, S. (2002). “Not that there’s anything wrong with it: Homosexuality and Television Comedy.” In
The Prime Time Closet: A History of Gays and Lesbians on TV, pp. 185-258. New York: Applause
Theatre and Cinema Books. 791.45653 TRO
Walters, S. D. (2001). “Ready for Primetime? TV Comes Out of the Closet.” In All the Rage: The Story
of Gay Visibility in the America, Chicago: University of Chicago Press. 791.455 WAL
LECTURE 12 - GENERAL READING (SEE WEEK ONE)
LECTURES 13 & 14
REGULATION (1) - CONTROVERSY AND THE MEDIA
Robertson, James C. (1989) The Hidden Cinema: British Film Censorship in action, 1913-1972 London:
Routledge 791.430941 ROB
** REQUIRED READING: Petley, J. (2011) Film and Video Censorship in Modern Britain,
Edinburgh: Edinburgh University Press. Introduction pp 1-13. Available as an electronic
resource.
Barker, M. et al. (2001) The Crash Controversy: Censorship Campaigns and Film Reception, London:
Wallflower 791.4372 BAR
Christie, I. (ed.) (1978) Powell, Pressburger and Others, London: BFI. 791.430233 POW
Caldwell, J. T. (2008) Production Culture: Industrial Reflexivity and Critical Practice in Film and
Television, North Carolina: Duke University Press. Available as an electronic resource.
Kimber, S. (2011) Henry: Portrait of a Serial Killer (Controversies), Basingstoke: Palgrave Macmillan.
791.4372 KIM
Kramer, P. (2011) A Clockwork Orange (Controversies), Basingstoke: Palgrave Macmillan.
791.4372 KRA
Kuhn, A. (1988) Cinema, Censorship and Sexuality, 1909-1925, NY: Routledge. 791.430941 KUH
Lindlof, T. R. (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture
Wars, Kentucky: The University Press of Kentucky. Available as an electronic resource.
Phillips, K. R. (2008) Controversial Cinema: The Films That Outraged America, Connecticut: Praeger.
Available as an electronic resource.
Simkin, S. (2013) Basic Instinct (Controversies), Basingstoke: Palgrave Macmillan.
791.4372 SIM
Wadell, C. (2008) Taboo Breakers: 18 Independent Films That Courted Controversy and Created a
Legend, Bromley: Telos. 791.436164 WAD
LECTURES 15 & 16
REGULATION (2) - FILM AND TV CENSORSHIP
** REQUIRED READING: Barber, S. (2011) Censoring the 1970s: The BBFC and the Decade That
Taste Forgot, Cambridge: Cambridge Scholars Publishing. ‘Why Do We Censor?’ pp 1-14
Available as an electronic resource.
BBFC Podcast Episode 56 – A Clockwork Orange (Stanley Kubrick, 1971). Available as an
electronic resource.
Creative Arts Module Guide 2016/17 page 10 of 12

Lamberti, E. (2012) Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the
Digital Age, Basingstoke: Palgrave/London: BFI. 791.43 BEH
Petley, J. (2011) Film & Video Censorship in Modern Britain, Edinburgh: Edinburgh University Press.
Available as an electronic resource.
Hargrave, A. M. and Sonia Livingstone et al (2006) Harm and Offence in Media Content, Bristol:
Intellect. Available as an electronic resource.
LECTURES 17 & 18
REGULATION (3) – HORROR (LAURA MEE)
Abbott, S. & Jowett, L. (2012) TV Horror: Investigating the Darker Side of the Small Screen, London: I.B. Tauris
791.456164 JOW
Cherry, B, (2010) Horror, London: Routledge. Available as an electronic resource.
Cherry, B. (2015) True Blood: Investigating Vampires and Southern Gothic, London: I.B. Tauris. Available as an
electronic resource.
Clover, C.J. (1993) Men, Women and Chainsaws, Princeton: Princeton University Press. 791.436164 CLO
** REQUIRED READING: Clover, C (1987) ‘Her Body, Himself: Gender in the Slasher Film’, in Jancovich,
M. (ed) (2002) Horror: The Film Reader, London: Routledge, pp.77-89. Available as an electronic resource.
Fahy, T (ed) (2010) The Philosophy of Horror, Kentucky: University Press of Kentucky. Available as an electronic
resource.
Gelder, K. (ed) (2000) The Horror Reader, London: Routledge. 809.38738 HOR
Hantke, S. (ed) (2010) American Horror Film: The Genre at the Turn of the Millenium, Jackson: University Press of
Mississippi. Available as an electronic resource.
Hervey, B. (2008) The Night of the Living Dead, London: BFI. 791.4372 HER
Humphries, R. (2002) The American Horror Film: An Introduction, Edinburgh: Edinburgh University Press.
791.4361640973 HUM
Hutchings, P. (2004) The Horror Film, Essex: Pearson. Available as an electronic resource.
Jancovich, M. (ed) (2002) Horror: The Film Reader, London: Routledge. Available as an electronic resource.
Mee, L (2013) ‘The re-rape and revenge of Jennifer Hills: Gender and genre in I Spit on Your Grave (2010)’, in Horror
Studies 4:1, April 2013, pp75-89. Reproduced on StudyNet.
Pirie, D. (2008) A New Heritage of Horror: The English Gothic Cinema, London, I.B. Tauris. 791.436164 PIR
Prince, S. (2004) (ed.) The Horror Film, New Brunswick: Rutgers University Press. Available as an electronic
resource.
Waller, G. (2010) The Living and the Undead Illinois: University Of Illinois Press. 791.436164
WAL
Wells, P. (2000) The Horror Genre: From Beelzebub to Blair Witch, London: Wallflower. 791.436164 WEL
Williams, T. (2003) The Cinema of George A. Romero: Knight of the Living Dead London: Wallflower Press
791.430233092 WIL
Creative Arts Module Guide 2016/17 page 11 of 12

** REQUIRED READING: Wood, R (1986) ‘The American Nightmare: Horror in the 70s’, in Jancovich, M.
(ed) (2002) Horror: The Film Reader, London: Routledge, pp.25-32. Available as an electronic resource.
LECTURES 19 & 20
REGULATION (4) - DR NATASHA WHITEMAN: DOWNLOAD CULTURE
‘A Future For British Film: It begins with the audience’: Report on the Film Policy Review Survey (2012).
Available as an electronic resource.
Condry, I. (2004) ‘Cultures of Music Piracy: An Ethnographic Comparison of the US and Japan’ in
International Journal of Cultural Studies, vol. 7, 3. Available as an electronic resource.
Jenkins, H. (2009) ‘The Moral Economy of Web 2.0’ in Confessions of an Aca-Fan, The Official Weblog
of Henry Jenkins. Available as an electronic resource.
Gillespire, T. (2006) ‘Designed to “effectively frustrate”: copyright, technology and the agency of users’
New Media & Society, vol. 8, 4: pp. 651-669. Available as an electronic resource.
Spitz, D. and S. D. Hunter (2005) ‘Contested Codes: The Social Construction of Napster’ in The
Information Society, Vol. 21, No. 3, (August) pp 169-180. Available as an electronic resource.
Yar, M. (2008) “The rhetorics and myths of anti-piracy campaigns: criminalization, moral pedagogy and
capitalist property relations in the classroom” New Media & Society, August 2008; vol. 10, 4: pp. 605-
623. Available as an electronic resource.
Creative Arts Module Guide 2016/17 page 12 of 12