BA (Hons) Media & Communications

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.

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.

The module starts by looking at some of the different ways in which artists have used media and technology across different historical periods. Through this, we introduce aesthetic concerns to the study of media, raising questions about cultural appreciation, value and taste, but also about social and political issues concerning art. You will learn to be critical towards many forms of media art – both old and new. The notion of ‘art’ as a unified field of specialist cultural production is then put into question in the context of the wider discussions of creativity and amateur media practices. By studying contemporary forms of media production via social media, open web, etc., we consider whether, in the age of online media and cheap digital technology, everyone is potentially an artist. Blurring the boundary between ‘theory’ and ‘practice’, the module attempts to get you to 'think about media' and 'make media' as part of the same classroom experience and module assignment.

Illustration

This module aims to give you a realistic taste of working in the field of contemporary illustration. It will result in a small portfolio of diverse artwork. The module is structured around the visual communication of text and ideas, and the project is led by successful and experienced working illustrator/s. You will be directed in the art of developing a visual concept, extracted from the written word that explores persuasive visual communication and more reflective visual storytelling.

Interactive Media

This module will concentrate on you creating a piece of interactive design that persuades and campaigns.

This module offers the opportunity to create a digital, interactive piece of work using appropriate and established technologies and software, such as Photoshop, HTML and CSS (using Dreamweaver as a code editor).

In addition to the essential technical aspects of the module, the emphasis will be on conceptual thinking, creative design, and inventiveness. During this ten-day module, you will increase your knowledge of typography, design, and the potency of image-making to increase communication. These skills will be applied to the building of an individual piece of interaction design.

There is the potential here for you to create and include animation, illustration, photography or film. You are expected to be the author of all code, and any creative assets included.

Stop Motion Animation

The aim of the module is to produce a succinct piece of animation, developed from an initial concept and taken through to a polished production that fully utilises the possibilities of this medium. Students will be encouraged to collaborate on the script and storyboard and research sound and pictorial reference as part of a small production group. The animation production will take place using a Mac-based digital rostrum camera and there will be an opportunity to use digital editing facilities under the guidance of a technician in the last week. Supervision will be on hand from the tutor and the technical adviser at every stage of the module.

Creative Writing

This course offers an opportunity to write: an original 8-10 minute film, TV drama, or radio play; or an 8-10 page (2-3,000 word) prose story.

It follows the development path most common in the media industries, starting with an idea and progressing through outlining to the rough draft and rewrite. The course is structured around an exploration of the key elements of classical narrative - story, character, three-act structure, plot, theme, style - in prose, screenplay and radio play forms. Students write 'reader’s reports' in preparation for the workshop sessions and keep a writer’s notebook.

Journalism

Write news and features for use online or in print. You will learn how to integrate visual material, text and interactive features in an online or print environment. You will critique your own work and the work of others, and integrate the insights learned in the whole of your degree into the production of thoughtful, compelling journalism.

Photography

The module provides opportunities to develop basic skills and knowledge that are fundamental to the construction and production of photographic images. These include lighting, printing, camera use, interpretation, photographic paradigms, photographic visualisation, other media references and practices. The module will also teach you a critical approach to working methods in photographic practice and provide opportunities to develop creative ability and control of the photographic apparatus. You will shoot and print an individual portfolio of images in black and white developed from knowledge of the photographic apparatus in relation to ideas of 'the private' and 'the public'.

Radio

The module is designed to serve as an introduction to basic radio features production and appropriate skills and techniques, as well as an introduction to news production skills. It provides an overview of the primary aspects of feature production in radio journalism/documentary, from idea to production, including research, interviewing, actuality recording, basic writing, presentation, and audio montage multi-track editing.

Television

This module aims to provide the opportunity to make a short documentary and a short drama in video format. It offers an introduction to the various production processes involved in the production of documentary and drama, explaining the similarities and differences between them. You will receive an introduction to a range of technologies used in television production, and grow your awareness of specific characteristics of factual and fictional productions. The module also fosters the development of interpersonal and collaborative evaluation and problem-solving skills in groups.

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.

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 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.

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.

An introduction to media production in a different area to the one you studied in the second year. You apply production skills in the creation of small-scale projects, and develop critical skills through the analysis of examples and of work produced in each area.

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 cutting edge developments in social and mobile media take place in what is often referred to as the global south. Innovations such as mobile money (see for example platforms such as 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. With over 1.39 billion SMS sent daily the Philippines is commonly described as the texting capital of the world. But how can we understand the social consequences of social and mobile media (and the wider media environments they are part of)? Are new communication technologies opportunities for social change, as it is often claimed, or do they simply amplify existing inequalities?

This module takes an ethnographic, grounded approach to understanding the social uses and social consequences of social media in non-western contexts. Theoretically, the module brings together the interconnected literatures on globalization and social shaping of technology while we will also address contemporary debates on digital media, consumption, social change and power. Empirically, the module will draw on media ethnographies from China, Ghana, Jamaica, Kenya, Malaysia, Nigeria, The Philippines and Trinidad and will address a number of substantive topics such as socialities, intimacy and parenting. The 15 credit version of the module will focus primarily on the impact of social / mobile media for personal relationships. Ultimately, rather than reporting on a collection of international case studies, the module aims to draw on these non-Western contexts to revisit assumptions about social media as well as about key concepts in social science, such as intimacy and parenting. We will showcase the local appropriations of digital technologies and in turn explore whether these are catalyzing processes of social change or entrenching existing power asymmetries. The tension between cultural particularism and social change is central to the module which will end with a broader theorisation of social media.

Drawing on a range of interdisciplinary perspectives (including cultural studiesand anthropology) this module will address the role of ‘tele’-technologies (technologies of distance - such as the telegraph, telephone, and television) in constructing the post-modern geography of the contemporary era, The module takes a non ‘media-centric’ perspective, focusing on the different
historical and cultural contexts within which these technologies operate and on the articulation of material and virtual geographies We begin by focusing on the ‘moral panics’ that have always accompanied each new medium - from the radio, to the cinema, etc. The module highlights the role of what we have come to know as ‘television’ - as the most important medium of the last half century, with a particular focus on its contexts and modes of consumption. The question of technological change will be approached from a historical perspective, for instance, in relation
to the late 19th century – as a period featuring a particularly rapid rate of technological change, compared with our own times. We shall review a range of micro-studies of the household (and public) uses of communications and information technologies, and the module will offer a critical approach to the futurological discourses concerning the supposed powers and effects of today’s ‘new’ communications technologies. We conclude by examining the role of various media (big and small) in processes of identity/boundary construction (at different geographical scales) within the broader context of processes of globalisation. We will also address the role of the media in articulating the private and public spheres, in the construction of national,
disaporic and transnational identities, and in relation to the various mobilities (not only of information, but also of people and commodities) that characterise our era of ‘time-space compression’.

The dissertation is an 8-10,000 word research project on a media-related topic of your choice. It provides an opportunity to work independently and in a self-directed manner on a subject of longstanding interest or that you have encountered during your studies. Your research topic must be located within the field of media and communications and should ideally draw upon at least one of the theoretical models introduced on the department’s degree programmes. You will be encouraged to undertake primary research of media texts or undertake research interviews to provide material for your case-study. Support for your dissertation will be provided by regular meetings with a supervisor – a member of academic staff who will have knowledge relevant to your chosen topic.