BA (Hons) Anthropology & Media

The aim of this module is to acquaint you with the main bodies of theory within social anthropology and the classical sub-fields within the discipline (political anthropology, economic anthropology, anthropology of religion and kinship) and key debates within the discipline. The module begins by locating the discipline in a historical perspective before proceeding to an exploration of key theories and central themes within the discipline. Although the lectures will draw heavily on what might be considered classical texts in anthropology, which will often mean that the literature dates from the early or mid-20th century and sometimes from the 19th century or earlier, the emphasis will be on the exploring ways in which these keys areas of work within the discipline might inform our understanding of contemporary issues and problems.

As the module progresses you will hopefully gain a growing sense of what social anthropology is and feel more confident to enter discussion concerning the kinds of questions it asks. Reflecting this gradual build-up of confidence and understanding, the essay assignment for the first term has been broken down into two distinct yet related stages.

Anthropological Methods is an introduction to practices of ethnographic research. The module examines the relationship between theory and method within anthropology. We are concerned with the specific techniques that are used by anthropologists as they conduct their fieldwork. This module also draws attention to how ethnographic knowledge produced during fieldwork is both relational and contextual. We therefore consider certain historical conjectures and power dynamics that have contributed to the way ethnography is (perhaps at times rather paradoxically) at once defined as a product and perceived as a process. To this end, the module explores the epistemological and ethical foundations of anthropological methods in order to encourage you to think about fieldwork as an encounter and ethnography as the relation between anthropological practice and theory.

Over the past 120 years, moving images have developed into a major aesthetic and social force of our times. Our realities both past and present are consumed by audiovisual mediations. Our imaginations and desires are built on filmic fictions. We mirror ourselves through our doubles on screen. But how do moving images actually engage us? What is their language? How do they affect us as human beings with a body, a psyche and social awareness? What does it means to have a cinematic form of aesthetics, and how is this currently being redefined in the age of the digital?

This module serves as an introduction into the theorising and analysis of film and other audiovisual media. It presents an overview of the historical development of cinematic modes of expression and experience and their key conceptualisations. Specific questions pursued range from the realism of cinema to the expressionistic powers of montage, from cinema's primal qualities as an immersive embodied experience to narrative, story-telling forms, as well as from the classic nature of film spectatorship to the novel forms of engagement emerging today with 3D, VR and AR.

Much attention is focused on today’s technologies, programmes, websites, innovations and media uses. Although this is understandable, it contributes to a neglect of other issues that are essential in understanding contemporary media dynamics – in particular the historical evolution of the media and the political frameworks and consequences that accompanied this evolution. This module provides you with ways of thinking about media history and media politics and is designed to contextualise more contemporary debates about media industries, practices and texts. While the module focuses largely on the UK media system, you are encouraged to reflect on the relevance of these models to international media systems with which you may be more familiar.

Cultural studies assumes that history - its shape, its seams, its outcomes - is never guaranteed. As a result, doing cultural studies takes work, including the kind of work deciding what cultural studies is, of making cultural studies over again and again. Cultural studies constructs itself as it faces new questions and takes up new positions. In that sense, doing cultural studies is always risky and never totally comfortable. It is fraught with inescapable tensions (as well as with real pleasures). (Lawrence Grossberg, We Gotta Get Out of This Place, Routledge, 1992: 18)

If we want to trace the ‘history’ of cultural studies in the UK, we have to go back to adult education classes in the 1950s and ‘60s, where students and their tutors embarked on the challenging task of questioning what constituted culture, social distinction, nationhood and other forms of identity. Cultural studies began to put a spotlight on everyday cultural practices which had hitherto been regarded as inferior or which contradicted established notions of what constituted culture itself. In so doing, cultural studies research has uncovered the richness of daily life for sections of society whose lives had not been deemed worthy of study or who had been dismissed as ‘uncultured’. Since this period, the field of cultural studies has shown how apparently self-evident concepts and beliefs have strong ideological underpinnings dependent on the wielding of social, economic and political power. In this sense, cultural studies is a political project which is not only interested in presenting alternative definitions of culture but also in investigating the power structures which shape them. Cultural studies provides us with the opportunity to interrogate notions of national identity, such as ‘Britishness’; to explore attitudes and practices which perpetuate social inequality and to understand how key markers of identity such as gender, race, class and sexuality are cultural formations with complex and continually shifting histories.

Cultural studies is now widely taught, not only in the UK but also in the US, Australia, and many other countries. Due to its immense variety and liveliness, it has been described somewhat humorously by Colin Sparks as a ‘rag-bag of ideas, methods and concerns’ (Storey, 1996: 14) it is nevertheless united by two main concerns:

1. The study of culture perceived as a ‘whole way of life’;
2. The examination of the political, economic and social structures which shape culture (but which are at the same time part of this culture)

One of the aspects of the political nature of cultural studies is the constant need for self-examination. As Stuart Hall, one of the most influential figures in the field, has argued, cultural studies ‘is a project that is always open to that which it doesn’t yet know, to that which it can’t yet name’ (in Grossberg et al, 1992: 278). Put simply, cultural studies can be described as a ‘project in the making’ in which meaning and identity are constantly in being renegotiated.

This module serves as an introduction to the study of culture and to the emergence of cultural studies. It starts with a general introduction to the idea of culture, and some of the problems associated with defining it. It also sketches the context within which cultural studies emerged from the Centre for Contemporary Cultural Studies (CCCS) in Birmingham in the late 1960s. We will take a close critical look at some of the key texts and theories that emerged from the Centre in the 1970s. This will be followed by some detailed analyses of a number of ideas associated with cultural studies - identity, hybridity, essentialism, resistance - and a number of cultural products and practices – soap operas, shopping, music and city life.

How do the media shape our outlook on life, and the way we think about our place in the world?  What influence do the media have over us and how might we understand, access or influence these networks of power? What governs the interactions between the media and citizens?  Key Debates in Media Studies looks into various approaches to these questions focusing on two main themes: control and resistance. 

Issues of media control, structure and policy, and the ways in which media are ‘framed’ for us by powerful interests.

The ways in which people are active in relation to media: producing their own meanings, resisting dominant structures and creating new types of content.

The module introduces the ethnography of a selected region, highlighting the anthropological theories informing this ethnography. Central themes are the creation of societies, communities, cultures and identities in response to colonialism and to contemporary opportunities and constraints, and the significance of the study of culture-building for changing ethnographic approaches and anthropology. In this way, students will be able to make links with wider anthropological debates about the construction of society, changes in ethnographic research and the relationship between anthropology and its subjects.

The module engages with fundamental questions about governance, institutions, practices, politics, and social change through a focus on the state. We begin with some key questions related to the Anthropology of the State, which are discussed in the context of contemporary politics.

We look at how the state has been theorised, researched and whether ethnographies of nationalism, citizenship and labour are challenged by comparative ethnographic approaches. We will study institutions like the family, movements and migration in relation to questions around the state and will discuss intersectionality of gender, class, race and ethnic community in relation to citizenship, resources, labour relations, and social formations. It is crucial for this course to engage with comparative work, especially ethnographies, which will allow us to discuss the many layers in which state is experienced, researched and ultimately becomes real in different contexts.

This module introduces the fascinating domain of the anthropology of religion: a vast and wide ranging subject. It introduces some of the many ways anthropologists have approached religious phenomena and highlights what is unique about anthropology’s contribution to the understanding of religion. It raises questions concerning what counts as ‘religious’ and includes within the remit of the module consideration of a variety of non-human agents (gods, God, spirits, witches) and religious practices (meditation, worship, performances).

You will be introduced to various areas of media practice divided into three areas of interest:

• Words
• Moving image
• Still image

Through technical workshops, discussions and tutorials you will explore learn how to construct and write a non-fiction ‘story’ containing visual elements. The course will end with a website workshop to help you build a website that integrates all the media elements used in the project.

The course offers an in-depth and critical anthropological analysis of western political economy through a Marxian and post-colonial framework. Combining historical contextualization and anthropological comparison, the course develops not only an historical materialist and cultural critique of western capitalism, but also a space of hope and prefiguration of post-capitalist life.

Overview of the module content:

To introduce you to the core concepts and theories relating to economic and political organisations and the problem of accounting for change, both empirically and theoretically.

To familiarise you with a number of empirical contexts in order that you may be able to conceptualise the complex socio-economic processes that are affecting the peripheral areas that have long been the concern of anthropologists.

To explore a number of contemporary problems relating to such issues as the apparent contradiction between local or national autonomy and globalisation that do not fit easily into definitions of the "economic" or "political".

This module will examine the place of ‘experience’ in thinking about our self-formation. What does it mean to ‘know ourselves’ and what role does psychological thinking, norms and concepts play in this process of knowing? We will examine arguments which suggest that psychology, as a body of knowledge and set of practices, does not actually reveal or disclose who we are, but plays a central role in constructing whom we take ourselves to be. The approach to psychology we will take throughout the module is deeply historical, examining the place of psychology in systems of governance and regulation, and how we might think about our own self-formation in light of this perspective. The module will explore arguments that suggest psychology is a science of population management, rather than a science of the self or the individual. One particular issue we will examine is the emergence of ‘the individual’ as an object and target of a process that philosopher Michel Foucault called Governmentality.  

This issue will be explored by interrogating the relationships between psychology, media and popular culture, and systems of government and regulation. During the module, we will identify events where psychological ideas, norms and concepts are produced, and to think about the possibilities and problems with such forms of psychologisation.

We will begin by considering the rise of ‘therapeutic cultures’ and their role in the production of particular norms of personhood; specifically the ‘fiction of autonomous selfhood’. The student will then be introduced to some of the key concepts which will be used throughout the module to further interrogate the performative basis of psychological knowledge and its circulation within media cultures. These concepts will include; discourse, Governmentality, genealogy, subjectivity, subjectification, power, fantasy and desire.  We will explore how Foucault’s power/knowledge coupling produces a perspective on power relations that challenges more traditional notions of ‘sovereign’ power, centred on the polity or the State.

The module will encourage students to interrogate their own self-formation and autobiographies and help to situate these narratives in relation to concepts such as power, discourse, desire, imagination, affect and corporeality. The module will extend the usefulness of the concept of subjectivity by exploring both Foucauldian and psychoanalytic approaches to subjectivity and illustrate their application by exploring certain themes and issues which will include: makeover culture, body-language (specifically facial expression), the emotions, mass psychology, makeover culture, televisual affect, positive psychology and the science of happiness, and historical aspects of the ‘media effects’ debates. We will also consider how we might begin to understand the complex relationships between sexuality, class, race and gender in relation to the performative force of communication practices such as magazines, film, television, etc.

This module asks students to think about the ways in which our economic lives shape and are shaped by society and culture. How do social and cultural forces influence our understanding of wealth, poverty, and inequality? How is economic news reported, and why is it often difficult to understand? How might technological developments such as digital currencies or platform-based forms of exchange change our economic behaviour? How do financial advice columns shape our understanding of the ‘good life’?

This module explores the role of communication and culture in economic life through a range of theoretical approaches and case studies. It encourages students to think about the economy both as a mediated phenomenon – something that is represented in the news, in culture and in everyday life in a variety of ways – and as a set of mediating concepts and ideas (‘markets’, ‘value’, ‘worth’) that shape the way we understand the world.

This module encourages students to reflect on the contribution of the media to collective and individual memories of war and social conflict. Media representations of both historic and recent conflicts, social movements and popular struggles play a significant part in the way these events are subsequently remembered and commemorated. Media portrayals are also significant in terms of psychological affect and emotional responses to violence upheaval and social change.

The module will equip students with the skills to understand the relationship between symbolic, mediated aspects of violence and conflict and the underlying social, political and economic processes which may be lost in the process of remembering. The module will provide students with skills to analyse visual and textual representations of war and social conflict in a variety of media material including newspapers, feature and documentary film, archive newsreels and photographs and digital sources.

Following the theoretical introduction in Week One, the module will explore the importance of memory in relation to some key experiences and events over the past century. We will then shift to a more thematic discussion of how memory affects experiences according to race, gender, sexuality and class. However, throughout the module the impact of these categories upon memory will remain an important element of our work.

Television has undergone crucial transformations since its establishment in the mid-20^th century. From the analogue ‘age of scarcity’ characterised by a limited number of national channels, television has grown into a commercial multichannel ecology and further expanded into a multiplatform, digital environment characterised by post-broadcast network transmission. But while rapid expansion of the spectrum and diminishing costs of entry have contributed to how the medium and its future development is perceived, the established political and economic patterns continue to have their stronghold. The increased transnational trade contributed to a reconfiguration of the economic landscape of television and while promising a more global medium, they have hardly redefined its inherently national character. This module will focus on contemporary debates about television as a cultural form, critically examining its continuities and changes of its economic and political context. While the module will rely on mainly British and US examples, it welcomes examples and comparisons with other national contexts.

This module provides a critical and conceptual vocabulary for understanding some of the key dynamics of social and cultural change, with particular reference to the large social institutions of modernity, the family and sexuality, and the changing world of work. In effect we track significant transformations of society from the domestic sphere to the field of employment. Processes of individualisation have undermined the social welfare framework which was a hallmark of the post-war period. While some sociologists including Ulrich Beck and Anthony Giddens claim that this disembedding of individuals away from communities and from long-term attachments and commitments based on family and work-based identities are actually the outcome of welfare provisions and public investment in education, health and so on, by which means individuals are now able to ‘live the life they choose’, others including Bauman, Rose and Foucault argue that individualisation is a process which shifts social and economic responsibility from the state to the individual. In addition to this we could suggest that in times of Euro-crisis and austerity we are moving to a post-welfare era, which will to some extent upset or de-stabilise the thesis of Giddens and Beck. In a sense has the individualised society become fully neo-liberalised? People are now expected to be self-reliant , they must self-manage, and indeed the new role of ‘Governmentality’ is to encourage this ethos by means of self-help books, guidance manuals, ‘personal advisors’ and so on.

The module examines these processes and discusses their consequences, what kind of ‘subjects’ are we now becoming? How does the ethos of individualisation operate in the context of globalisation? What are the types of production processes underpinning the more individualised society? What is meant by post-Fordism? What are the consequences of individualisation for men and women, for young people, for ethnic minorities? Who are the winners and the losers of the ‘network society’? What exactly is meant by ‘neo-liberalism’ and how has this credo had an impact in social and political life? In the first few sessions we paint a wider picture considering life, love, intimacy and family life in the individualised society, we then move towards a more close-up focus on the new workplace, looking for example at the rise of new forms of self-employment in the creative economy, and at the rise of the ‘crafting’ movement. Overall we are reflecting on the ‘future of work’ in an individualised society.

An ever increasing portion of a waking lives is spent interacting with media screens. This is an accepted and routine fact of life disrupted only occasionally by sporadic media panics about our addiction to screens that hint at an undercurrent of disquiet we generally suppress. But what do we actually know about these screen interactions and experiences? How might we think critically about the diversity of screen interfaces, environments and media formats with which we interact on a daily basis? How do contemporary screens and viewing situations relate to a longer history of screen practice and spectatorship focused on the circulation and display of moving images?

This is a module about how we live with and experience media screens and screen-based media. We look to make the familiar strange by juxtaposing screen interfaces, practices and venues from different historical periods and by thinking through a range of ideas about spectatorship across the disciplines of media, film and visual culture. We will examine how the media institutions and technologies that deliver and display screen-based moving image forms, produce the environments we inhabit and organize our visual and auditory senses, whilst considering how we negotiate these spaces and conditions. We will think about the orientation of our bodies towards screens, which are both physical, material objects and surfaces on which impermanent images flow: the different possibilities involved in sitting still or walking, being with others or alone, touching or being ‘touched’ by, holding a screen in our hands or reaching out towards one on the horizon. Media screens and screen based media construct publics and make public space. Screen media spectatorship implicates us in ethical dilemmas as we bear witness to the distant suffering of others and acquires uncanny resonance as the dead are brought back life.

This module aims to equip students to think critically about how we see moving images as well as what we see. It encourages students to make connections between theories and concepts from a range of disciplinary perspectives and in their assessed work apply these to specific examples of media screens and/or screen-based media that they have chosen.

The purpose of this course is to provide students with a basic knowledge of the thought of some of most prominent social theorists (Marx, Weber, Durkheim and Simmel) and to explore how these works have influenced our understandings of the media, modernity and power. It should be evident that whilst media theorists have their own particular focal concerns, in many cases they are responding to problems posed within this classic tradition. The social theory examined in this course asks crucial questions both about the nature of society – power, stratification, agency, regulation, identity and spectacle – as well as about the media’s status as a key instrument of social reproduction. The course thus provides a theoretical map on which to locate some of the key issues confronted in media, communication and cultural studies.

The course will be divided into two different parts. In the first half we will explore the different contributions made by Marx, Weber, Durkheim and Simmel to our understanding of modernity. In the second half of the course, we confront a more contemporary version of social theory that critically challenges some of the foundations of Western modern thought by looking at postmodernism, race and ethnicity, gender, and globalisation.

In order to emphasise the link between social theory and media studies, sessions will address specific cultural or media-related phenomena connected to the sociological topic under discussion. We will, for example, investigate a range of issues including ‘McDonaldisation’, branding, reality television, celebrity and spectacle.

This module explores the friction and common ground between History and Anthropology. In order to understand this productive but spirited dialogue, we historicise their relationship and overlapping but divergent theoretical perspectives and methods. Modern social anthropology was formed in the early twentieth century by a rejection of evolutionism and its replacement by synchronic site-specific studies, a move that effectively eclipsed history’s theoretical significance to the discipline. Yet, dissatisfaction with the ways in which synchronic functionalist ethnographic analyses ignored history and social change brought about lasting debates about continuity and rupture; the relation between pasts, presents and futures, and the wider humanistic turn of both disciplines under the theoretical influence of Marxism, feminism, and other critical social theory since the 1960s. This module is, in many ways, an examination of the possibilities of a historicised anthropology and poses several intertwined empirical and theoretical questions about the place of structure and agency, consciousness and historicity, and memory and silences within ethnography. Through historical ethnographies and selected social historiography, we aim to understand not only how to approach the past anthropologically, but also grasp ethnographically the uses of history as a collectivist political project implicated in nationalism, racist ideology, and categories like world heritage.

This module will explore understandings and experiences of the health and illness by engaging with classic and contemporary ethnographic work to ask:

•How are health and illness understood and experienced; how are healing practices assessed?
•What is the relationship between health and inequality, both with reference to professional status and economic disparities?
•What can anthropology contribute in practice?

This module is concerned with social and cultural constructions and understandings of gender, sexuality and the body as discussed in anthropology and beyond. The main aim of the module is to develop a critical understanding of some of the major theoretical approaches to gender, sex and the body, as they have been and are relevant to anthropology. In European intellectual history ideas about the body have often revolved around the biological binary categories male and female. In this module, however, using a range of ethnographic examples we look at ways in which the idea of male and female is perceived, embodied and challenged, cross-culturally, in different contexts, and at different historical moments. The topics addressed range from work, performance and narrations of the self, to queer communities and families, and from biopolitics, and new technologies of the body/reproduction, the body, gender, and nation, and gender and globalisation. By the end of the module, you will be expected to be familiar with the main theoretical perspectives in anthropology on gender, sexuality and the related politics. You should also be aware of the historical changes which have marked the analysis of these concepts and be able to use ethnographic material as evidence for theoretical points.

This module explores the role of visual representation in anthropology in terms of both the history of its use within the discipline, and also the potential it holds for new ways of working. It looks at work in a wide range of media – photography, film/video, performance – and the ways in which they might be used in an anthropological context, and this will involve looking at work from outside anthropology such as photojournalism and contemporary art, as well as the work of visual anthropologists.

The intention of the module is to give students a challenging and creative view of the potentials for using audio-visual material within anthropology. It also provides a strong theoretical background for those students going on to take the AN53040A Anthropology and the Visual: Production Module in the Spring Term.

Work placement – 5 days per week for 2 weeks; or at least 10x8 hour days spread over a longer period to be determined by the WPM, Department, student and host organisation.

The aim is to provide experiential learning opportunities which both enhance students’ academic studies and offer the opportunity for personal development. It will therefore be an effective vehicle for delivering key aspects of Goldsmiths Learning and Teaching Strategy (Employability), including:
• The teaching and assessment of skills relevant both to academic achievement and to discipline-related career opportunities
• The delivery of effective personal development programmes
• The enhancement of academic programmes so that career-related experiences are offered, validated and supported

General Scope of the Module
Arrangements for the delivery of the module
The module will be coordinated by the WPM. The academic elements will be delivered and assessed by the academic department and the personal development elements by WPM/TALIC. It will fall within the purview of the assessment framework- including exam boards and external assessors- of each department. WPM/TALIC will be invited to the Exam Board Sub Committee.

Structure
The Placement is at the core. It will take place over a two-week period or may be spread over a longer period with a minimum of 10, eight-hour working days.

In the term prior to the Module, the WPM will hold discussions with students about placement options. It is anticipated that there will be a pool of placements and students will also be encouraged to find their own placements. In all cases, the WPM will meet with the host organisations, to ensure that they have the capacity to supervise the student and that they can offer the student activities and resources which will allow them to meet the learning outcomes. The respective responsibilities of the host organisation, student and Goldsmiths will be encapsulated in the Letter of Agreement.

A seminar, led by WPM/TALIC, will prepare students for placements. It will include: the purpose of the placement; information on what to expect/how to behave; health and safety issues; what to do if anything goes wrong; an introduction to self-assessment, including skills, values, personality traits; how to prepare the Personal Portfolio and presentation.

Prior to start of module:
Students discuss preferred sectors with WPM and are matched to placements or find their own.
Seminar (two hours) led by WPM/TALIC to prepare students for placements and to provide guidance on personal portfolio.

During module:
Three seminars (two hours) within the academic department, to help students formulate ideas for their research report and to allow them to share experiences and issues.
Student presentations (two hour session) set up by WPM/TALIC.
Office hours in department and with WPM/TALIC

This module will consider the border politics involved in the making of 'transnational', diasporic', and 'local' communities. We will theorise the border as a material, political, cultural and linguistic boundary that is increasingly defining social life as well as engage with the experiences of those who cross borders. We will ask: How are borders constructed and contested? How do migrants experience borders? How is the discourse of citizenship destabilised when movement and borders become central heuristics by which to understand belonging and membership? Throughout the module we will read academic texts as well as engage with films and literature that focus on migrant lives and border crossings to develop a theoretical and practical knowledge of border politics in relationship to migratory flows.

This module revolves around contemporary debates in the anthropology of social movements. It considers the contribution of ethnographic approaches to activism and protest to the theorisation of politics, collective action and social change. The anti-globalisation movement, #occupy, the anti-corruption movement in India, the anti-foreclosures movement in Spain (PAH), the Landless Workers' Movement, right-wing extremism, feminist reproductive health activists, independent-living activism, queer movements and the Indigenous Environmental Network are some of the examples that the module will explore. Rather than 'explaining away' these movements, the pedagogical orientation of the module is based on learning from them, i.e. devising ways of conceptualising their practice, methods and transformative power. The module will also consider, as a transversal issue, the question of 'engaged' or 'militant' research - and more broadly the relationship between the production of academic and activist knowledges.

The assessment is organised around student projects that will present, in a multimedia portfolio format, the result of research conducted about/with social movements.

This module uses a range of data to focus on the relationship between Anthropology and Psychology. Although anthropology has often been described as a `bridge’ between the natural sciences and the humanities, the relationship between anthropology and psychology (or Psychoanalysis) has always been fraught with tension. This module explores these tensions and some attempts to overcome them.

Arguably modern anthropology and modern art are close in terms of both their origins and their critical reflection on the relationships between images, objects and persons, and a concern with anthropological or ethnographic issues is often an explicit feature of contemporary artworks. But despite a long history of dealing with the so-called ‘art’ of other cultures, what does anthropology have to contribute to an understanding of the kinds of artworks you might find at Tate Modern today? Using ethnographic case studies this module will consider key anthropological approaches to art both historically and thematically, and will explore how art and anthropology are entangled with each other, including suggesting ways in which anthropology can productively learn from contemporary art.

The aim of this module is to introduce you to rights in terms of their philosophical foundations, the history and shape of the UN system and anthropological contributions. We will be exploring human rights and humanitarian law as bodies of law, institutions, systems of practice and ideologies – with particular focus on the issue of cultural relativism (historically the key stumbling block for anthropological engagement with rights) and cross-cultural experiences of engagement with, or resistance to, rights.

The aim of this module is to allow students to explore the possibilities of communicating anthropological themes and issues through visual and aural media by producing practical work. 

This is a production-based module and does not follow the usual lecture/seminar format. It is centered on the development of your own individual practical visual or sound project and seeing that through to completion. As such the contact hours are made up of some joint screening sessions and group workshops, as well as some one-to-one tutorials.

The module requires you to engage in a PROCESS of making a visual piece of work, to develop and refine a project through all the various stages and forms necessary for its successful completion. Students typically produce several versions of the practical work as they refine their project over the module of the term.

This module offers an introduction to theoretical debates and methods of digital anthropology. It combines an introduction to the debates that have shaped the field with practical sessions designed to familiarize learners with digital methodologies for anthropological research. As digital technologies transform contemporary experiences of subjectivity, embodiment, sociality and everyday life, the module uses anthropological tools and methods to think through digital technologies in a range of ethnographic contexts. Topics covered will reimagine the object of anthropology through digital ethnography, and explore how the purchase of digital futures and imaginaries remake anthropologists’ conceptual toolkits.

The module will combine an enquiry into the materialities and politics of digital infrastructures, devices and social media platforms with practical learning using digital methods to produce anthropological analysis. Practical sessions will develop independent research skills including research design and ethics, working with digital video, techniques of online data collection and digital qualitative and ethnographic analysis.

This module looks at the ways in which anthropologists have dealt with violence, how we explain it, the specific problems of researching this topic, the involvement of anthropologists in military projects and other issues. We will be looking at the practices of researching; writing and engaging with violence and the problems these pose contemporary anthropologists. Some of the readings, lectures and other sources we might look at in this module inevitably deal with issues, descriptions and images of violence. Please be aware of this before taking the module and if it’s an issue discuss this with module convenor sooner rather than later.

The module aims to provide students with a critical understanding of international development as a social, political and historical field, and of anthropology’s engagement with development and processes of planned social change. The early parts of the module provide students with an understanding of, the emergence of development as an idea, the architecture and infrastructure of aid, and introduce key theoretical approaches in the study of inequality. We also examine the tensions inherent in anthropology’s long and intimate relationship with development, through the early production of expert knowledge about tradition and culture; through its critical engagement with policy processes and planned interventions, and through the professional negotiation of the fields of development anthropology and the anthropology of development.

The module then goes on to contextualise these theoretical and critical approaches to development through a series of interlinked topics and ethnographic case studies. These take students beyond the idea of development as linear progression, or as a monolithic force acting on the world, and instead reveal a field fractured by contradictions, contestations and contingencies that is produced, reproduced and interpreted across multiple locations and cultural contexts.

During the term you should acquire an overview of the relationship between anthropology, feminist theories and theoretical and applied issues within the field of development and politics. The emphasis will be on critical engagement and debate, and on a comparative approach to gender and gender systems of power in developed and developing countries. We will draw on the theories and debates covered in other modules to examine the implications of gender differences within specific economic and political systems.

This is a hands-on research module aimed at providing students with grounded, meaningful research experience. This will take the form of participation in research led by staff with the aim of contributing to real, concrete outputs with public and/or academic audiences. The preparation for research will take the form of two day-long workshops in summer term, the research itself will take place over the summer, with a third writing up/dissemination workshop in the Autumn term of the following academic year. As with the Placement module, this will be a Level 6 module which takes place in the summer at the end of the 2nd year, with assessment submitted in the Autumn term of the 3rd year.

While specific research skills will vary depending upon the research project, they are envisaged to include fieldwork skills (EG - interviewing; participant observation; field notes; audio & video data gathering), research ethics training, software use (EG - NVivo; website design packages such as Wordpress; mapping software; film editing) along with dissemination related skills such as blogging or collaborative writing up of research for other forms of publication. 

The aim of this course is to provide concrete skills and outputs that can be straightforwardly added to the CV's of students while also allowing them to participate in meaningful research. Depending upon the specificities of the research project - students will also be encouraged, where possible, to contribute towards the research design.

This module examines the actors and communication processes involved in contemporary political communication. It combines theoretical insights and empirical information from the fields of media studies, journalism, sociology and political science. It mainly focuses on democracies, particularly in the US and UK, but literature and examples are also drawn from other types of political system and country.

Weekly topics combine standard political communication topics and contemporary examples, with discussions of related theory and concepts. The following topics are covered: The crisis of politics and media in established democracies; mass media and the news production process; political parties, citizen relations and political marketing; the production of news and the future for traditional print and broadcast news media; media effects and influences, and citizen engagement and participation; historical and cultural elements of political communication, and digital politics and communication. In addition, key case study areas will be explored, including: the 2015 UK Election and EU Referendum; the economics of austerity and financialisation; media management and mediatisation of politics; and health and welfare policy.

Theories and concepts drawn upon include: Theories of democracy (from weak, representative to direct, deliberative); public sphere theory (national, parliamentary, local, global, online, and counter); Political economy and related critiques of capitalist democracy; Work, organisation, professionalization and bureaucracy; mediatisation, popular culture and politics; Primary definition, media consecration, and celebrity; New technologies, technological determinism and social shaping.

Much of the material for this module is highly contemporary, so students are encouraged to maintain an awareness of current developments in political communication in the UK and elsewhere, through newspapers, television, radio and the internet. Students are very much encouraged to bring contemporary examples into the seminar discussions and their essays.

This module will examine how histories of Western imperialism have shaped the landscapes of the present. Our task is to explore how contemporary racial and national formations (ideas about ‘Britishness’, ‘whiteness’, and so on) exist in a complex and intimate relationship to longer histories of empire. In addition to introducing key concepts from critical race and postcolonial studies, lectures will also offer phenomenological interpretations of how race structures the present often by receding into the background, as well as drawing on theories of affect and emotion to explore how security regimes become racial regimes. Our concern is with how histories of empire ‘get under the skin,’ and set reading include works that reflect on the experience of being or becoming strangers, or ‘bodies out of place.’ We attend to the intersection between race, gender and sexuality throughout.

In this module students will be introduced to a series of sociological questions about the city and urban life from a perspective which focuses on public culture, consumer culture and everyday life. There is an emphasis on lived space, patterns of housing, spaces of leisure and enjoyment, spaces for multi-culturalism and for sharing public provided resources such as parks, libraries, schools and open spaces, as well as detailed considerations of changes within the retail landscape.
The aim will be to become familiar with the concepts and ideas developed by cultural geographers, social and cultural theorists, by feminists, by post-colonialist scholars, by artists, writers and film-makers about the growth of urbanism, about the sensations and subjective states of intensity which city life generates. The module will also adopt a historical approach charting the rise of urban modernity, the development of shopping and the department store, and it will consider the city as the space for crime, for prostitution and for gang culture. We will also examine processes of migration to the city, and to the way in which power relations in the city result in boundaries, barrios, ghettos, enclaves and fortresses. We will ask questions about the urban workforce, the new service sector, and jobs such as nannies and ‘baristas’. Cities have long been laboratories for sociologists and ethnographers and we will critically examine some of the results of these activities, with a view to producing short ‘urban diaries’ based on close observation of local neighbourhoods or districts in London, e.g. Changes to the East End through gentrification and development. With this in mind we will do an afternoon field trip later in the term to look at the old and the ‘new’ Kings Cross.

The wider conceptual frames for this module are drawn from postmodern theories of space (Jameson, Soja, Massey), from the writing on space by Foucault, from anthropological ideas of everyday life (de Certeau) from sociological studies of urban neighbourhoods (Wacquant), and from sociologists who examine urban micro-economies of culture and creativity (McRobbie). There will be the chance to debate the work of Richard Florida and to reflect on the ideas which inform ‘creative city’ policies. In the first 5 weeks we adopt an approach informed by cultural history and social theory. In the second half we pay close attention to the rise of the ‘creative city’, to processes of gentrification and to neighbourhood politics. Throughout the module students will be encouraged to draw on their own experience of urban culture, as well as draw on the module material to develop a greater understanding of the cities and urban environments in which they grew up.

Why does music matter? What is its value? What makes music a distinctive form of communication? In what ways does music enhance people’s lives, and produce forms of individual and collective flourishing? Conversely, how can music reinforce social hierarchies? How does music link to questions of social power, notably in terms of class, ethnicity and gender, in relation to its production and consumption? How can music lead to individual and collective forms of flourishing?

This course explores how musical meanings are conveyed and understood and how this is mediated through the cultures and technologies of production and consumption. We will consider how music communicates mood and meaning, not only through associated imagery and the lyrical content of songs, but as sound itself. We will also think about the processes that link production, circulation and consumption, as well as explore the ways that music connects with individual and collective identities.

Underlying the option are a series of wider questions about how we might research, analyse and understand the complex of sounds, words and images that constitute contemporary popular and many other kinds of music. How and in what ways may we argue that music can express, influence and affect human actions and perceptions? How are beliefs, values and identities encoded and communicated as part of a collective experience or to individual listening subjects? How is what we listen to mediated by technologies and what affects does this has? How do we analyse and talk about musical sound when this often considered as having little to do with representation?

Such questions have received relatively little attention in media, communication and cultural studies, and many of these issues remain under-researched. Hence, you are encouraged to draw on your own personal experience of music in everyday life and to make use of this material in connection with some of the theoretical approaches under discussion during seminars (as well as others you will have come across in your reading and on other courses).
This option is more theoretically demanding than it might initially appear, as it entails thinking critically about a number of everyday musical and sonic experiences that are often taken for granted. It also requires you to both bring a range of critical ideas to your analysis of music and musicians as well as musical examples (on CD, phone, mp3 file etc) to play to your seminar group. You are encouraged to read widely for seminar discussion and when writing essays, and to make connections to a number of relevant and related theoretical debates outside of the immediate popular music literature.

This module will examine the place of the ‘body’ in contemporary social and cultural theory taking a number of case studies as examples. In recent years across a range of academic disciplines, from sociology, anthropology, cultural studies and psychology, there has been a move away from approaching the body as a pre-given biological entity or substance, to explore the body as a process. This shifts inquiry from asking not ‘what a body is?’, but rather ‘what can a body do’? ‘What could bodies become’? This work privileges the materiality of the body, as well as introducing creative energy and motion into our understandings of corporeality. It also directs and extends our focus away from anthropocentric understandings of the body (ie. that the human body is distinctly ‘human’) and orients our examinations of corporeality to include species bodies, psychic bodies, machinic bodies, vitalist bodies and other-worldly bodies. These bodies may not conform to our expectations of clearly defined boundaries between the psychological, social, biological, ideological, economic and technical, and may not even resemble the molar body in any shape or form.

Thus many of the dualisms that have circulated across academic disciplines have been dismantled and troubled. These include contrasts between nature and culture, the individual and society, the mind and body, the interior and exterior, and the human and animal/machine. This work has emerged for example in relation to debates surrounding bio and digital technologies, body image and eating disorders, gender performativity, animal/ human relations, affective communication, the senses and mediated perception, health and illness, psychiatric and therapy cultures, the emotions, affect and feeling, the importance of engaging with science, including the contemporary neurosciences to name some just some examples. The question is how do we, as humanities scholars, engage with the body and debates surrounding the body and what relevance might this have for understanding our relationship to media practices and technologies, and particularly for how we might theorise mediation?

This module will provide a critical forum to reflect on these issues, and will provide students from the humanities with a critical understanding of theories of society, culture and communications, which recognize that the body has a materiality and cannot simply be collapsed into text, discourse and signifying activity. This work also explores the complex and layered relationships between scientific narratives/practices, cultural narratives/ practices and our own autobiographies/ embodied practices. The module will explore to what extent we need to talk about embodiment, rather than the body in any fixed way.

The module investigates the nature of media law and ethical regulation for media practitioners primarily in the UK, but with some comparison with the situation in the USA and references to the experiences of media communicators in other countries. The students are directed towards an analysis of media law, as it exists, the ethical debates concerning what the law ought to be, and the historical development of legal and regulatory controls of communication. The theoretical underpinning involves a module of learning the subject of media jurisprudence- the study of the philosophy of media law, media ethicology (the study of the knowledge of ethics/morality in media communication), and media ethicism (the belief systems in the political context that influence journalistic conduct and content). The module evaluates media law and regulation in terms of its social and cultural context. It is taught in one and a half hour lectures and one-hour seminars that involve the discussion of multi-media examples of media communication considered legally and/or morally problematical. Media Law and Ethics is a dynamic subject with dramatic and significant changes and developments occurring from year to year addressing acute issues in journalism, current affairs and politics. As a result, the module content is substantially revised year after year in response to these developments.

This module aims to explore how the media operate as a focus of ritual action, symbolic hierarchy and symbolic conflict. In particular, it explores to what extent theoretical frameworks already developed in anthropology and social theory can help us analyse contemporary media and mediated public life.

This module explores various approaches, theoretical and empirical, to understand what might broadly be called the ritual dimensions of contemporary media. Among the questions the module addresses are the following:

1. What can anthropological theories of culture, ritual and power contribute to the understanding of contemporary media?
2. What might we mean by the terms ‘ritual’ and ‘ritualisation’ in relation to media?
3. How do we analyse those times when media production and usage depart from the ordinary and every day, and take on larger social resonances, for example the national broadcasting of major public events?
4. How is the growth of celebrity culture connected to questions of social power?
5. How should we interpret the media’s claims to represent ‘reality’, for example in the proliferating genre of ‘reality TV’?
6. Why do non-media people want to appear in or on the media, and with what consequences do they do so?
7. How is media’s power connected with the practices of state and corporate power and with the latter’s use of media (including for surveillance)?
8. Are media’s ritual dimensions played out differently in different media cultures?
9. How do media rituals affect contemporary public cultures, and with what ethical consequences?

Lectures move from introductory material and theoretical concepts (in the early weeks) to specific aspects of contemporary media production (in the last two-thirds of the term). Students will be encouraged in seminar discussion and in their written work to apply the theoretical concepts introduced in the module to the analysis of specific examples.

This module looks at the rise of promotional culture (public relations, advertising, marketing and branding) and promotional intermediaries and their impact on society. The first part of the module will look at the history of promotional culture and will offer some conflicting theoretical approaches with which to view its development.

These include: professional/ industrial, economic, political economy, Post-Fordist, audience, consumer society, risk society, and postmodern perspectives. The second part will look at specific case areas of promotional culture. These are in: fashion and taste, technological commodities, popular culture (film TV, music), celebrities and public figures, political parties, and financial markets. In each of these areas questions will be asked about the influence of promotional practices on the production, communication and consumption of ideas and products as well as larger discourses, fashions/ genres and socio-economic trends.

Since the beginning of moving images, the world has moved from industrial and imperial to digital and global. Among the political movements that have been most important in the period since the invention of the movies are (neo)liberalism, Marxism, fascism, nationalism, feminism and anti-colonial struggles. These trends are inescapably bound up in the technologies, techniques and forms of the moving image and the sound arts, from the early days of cinema to contemporary handheld and immersive media. This module investigates the politics of these forms and technologies as attempts at controlling the dispositions of minds and bodies and as struggles for their emancipation. It will address a broad range of topics from the power of sounds, images and visual apparatuses in the 20th and 21st centuries to the relationship of politics and aesthetics, the problem of democracy, and ideology critique.

"Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art."
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. 1936.

Many of the current developments in social and mobile media take place in what is often called the Global South. Innovations such as mobile money (see for example the successful platforms M-Pesa and G-Cash) and crowdsourcing platforms (such as Ushahidi) have emerged from countries such as the Philippines and Kenya where over 25 per cent of the country’s GNP flows through M-Pesa. Most new social media users are based in developing countries. But how can we understand the social consequences of social and mobile media? Are new communication technologies opportunities for social change, as it is often claimed, or do they amplify existing inequalities?

This module takes an empirically grounded and comparative approach to understanding the social uses and consequences of social media. Theoretically, the module brings together the interconnected literatures on globalisation and social shaping of technology while we will also address contemporary debates on digital media, consumption, social change and power. The lectures will follow a trajectory from the mediation of personal processes (such as intimacy through social media) to the relationship between social media and structural processes such as migration, social class formation and inequality. Ultimately, rather than reporting on a collection of international case studies, the module aims to showcase the local appropriations of digital technologies revisit assumptions about social media as well as about key concepts in social science, such as intimacy and social class. The tension between cultural particularism and social change is central to the module which will end with a broader theorisation of social media.

You will devise a major project that utilises the skills developed in the second year cross-platform module.