Film and Television Studies and American Studies BA

For this year-long core research module you'll spend two hours a week in lectures and workshops to become familiar with different approaches to investigating research topics which interest you. This will include learning about and trying out first-hand a range of research methods and techniques commonly applied in ethnographic, historical and textual study, and determining their suitability for different projects. You’ll learn about the kinds of research that a range of industry professionals from diverse sectors within the media, creative, entertainment and heritage industries pursue, and have opportunities to reflect on how you could incorporate that learning into your own research. You'll also investigate the interdisciplinary nature of culture, film, media, the arts and critical digital studies and demonstrate this knowledge by choosing your own research project and methods. This module is worth is 20 credits.

This module will deploy the concept of "region" and, more broadly, “place” to explore key North American texts— drawn primarily from the spheres of film, television and literature. The notion of the "regional" will be applied expansively as well as conventionally to incorporate everything from the urban to the suburban/exurban; border territories; the transnational. Possible areas of study may include the American West; the Pacific North-West; New York City; the black inner city “ghetto”; "mountain" people and the Appalachians; Hispanic-America; first nations; French-Canada; Texas; Chicago; New Orleans; California; and the transnational impact of extensive US military occupations (post-war Japan; South Vietnam; twenty-first century Iraq). 

In this module you'll learn how show business is broken down into 'show' and 'business' in film, television and promotional industries and examine how creative decision-making, technology and legislation influence those industries. You'll also learn about how advertising and market research influence the design and production of media in certain regions and how film and television industries have developed in different contexts and periods. This module is worth 20 credits.

During this year-long module you'll:

• think about industries, audiences and surrounding debates from a social and cultural viewpoint
• learn about the way that social and cultural meaning is produced by film and television programmes​
• explore the social practices that surround the consumption of media, such as movie going and television viewing

Some of the specific questions we might look at together include:

• How do value judgements shape the way in which movies and television programmes get made
• What is "good" television?
• What challenges are public service broadcasters, like the BBC, facing and how should they address these?
• How have writers and producers attempted to use television drama to enact social change?
• What kind of TV programmes are preferred by streaming services and why?
• How might binge watching impact on the viewer's experience and social communication?

This module is worth 20 credits.

This module develops critical modes of attention to the mediation of identity. On our screens and in our headphones, we shape and reshape our selves. Media do not reflect identities but play an active role in bringing them into being. This module takes up the question of 'identity politics', enhancing students' knowledge and understanding of key identity categories that have been advanced and problematized by media scholars, such as gender and sexuality, race and ethnicity, national, regional and local belonging, age, ability and disability, and more. The module also interrogates the mediated forms these identities take, considering the politics of looking and visual culture, the politics of hearing and auditory culture, and the politics of affect, emotions and embodiment. The module encourages historical as well as contemporary perspectives.

Described variously as an era of dissent, revolution and experiment, the 1960s offers a unique vantage point from which to explore a range of issues and topics pertinent to media and cultural studies. The art of the period brings into view a volatile world where distinctions between different media were becoming blurred (as in performance art, for instance) and where inherited ideas, hierarchies and values were contested, if not exploded. Notions such as the Establishment, the underground, celebrity, obscenity, mass culture, alongside those of personal identity (gender, race, class, sexuality) were all subject to radical questioning in an era where events, such as those of the Civil Rights Movement and the Vietnam War, challenged the received order of things. This module critically evaluates the idea of the 1960s, starting with its status as a fabled decade that is said to cast its shadow today. Historiographical and geographical questions structure the module.  When and, crucially, where were ‘the Sixties’? Was it primarily an Anglo-American phenomenon? Was it the 1950s until 1963? Did it end in the early 1970s, as some believe, with the Oz Trials?  These and other questions will help us to demythologise the period and begin investigating it anew.

Explore how film can be regarded as an art form through the study of avant-garde cinema in early 20th century Europe.

We’ll start by looking at what is meant by the term ‘avant-garde’, and consider the development of experimental filmmaking in the context of artistic movements such as:

• Futurism
• Cubism
• Dada
• Surrealism
• Constructivism

The focus will be on developments in Germany, France and the Soviet Union and consider key trends from abstract animation to Cinema Pur.

We’ll also explore some key concerns of non-mainstream cinema such as:

• Narrative
• Abstraction
• Reflexivity
• Spectatorship
• movement, time and space

You’ll examine how experimental film engaged with modernity, including the aesthetic and political strategies of the European avant-gardes.

By the end of the module you’ll be able to:

• contextualise the avant-garde in relation to broader artistic and historical developments
• understand the relationships between film and other media

This module is worth 20 credits.

Digital communication and media are significantly transforming the ways our societies operate. In this module you will critically explore key issues behind this transformation, and investigate theoretical and practical foundations of digital communication and media and their relationship to contemporary culture. You will study the cultural, political, economic, technical and regulatory contexts from which digital communication and media have emerged and in which they continue to operate. To link conceptual frameworks to real-life experiences and situations, the module also provides opportunities for you to explore the interactive forms and practices that result from the use of digital communication and media through a range of both individual and group activities. This module is worth 20 credits.

Media, TV, film and visual culture play a central role in forming our knowledge of the past. There is no memory without its representation in language or images. Using a range of case studies, you will explore how different forms of remembrance add weight to what they represent. Who remembers what, when, where, why and to what purpose? Why do screen and other media retell certain stories over and over again, and how is such remembrance linked to the erasure of other pasts? What is the relationship between national and transnational memories, when set against memories of enslavement and its visualisations? These, and other questions, will guide our approach to an interdisciplinary field of media, film and visual studies. The module will also encourage you to reflect critically on regimes of visibility and narration, and on the distinct ways that memories of certain events are communicated via different genres, institutions, and artefacts. This module is worth 20 credits.

This module introduces a number of artistic and architectural practices that emerged in Southern California after 1945. Exploring their cultural and historical context, we will consider the role of Los Angeles in the development of post-1945 American art and architecture, including mid-century modernism, Pop Art, Conceptual Art and Light & Space Art. Central to this module is the question of whether all art made in Los Angeles can be classified as “Los Angeles Art” – that is, the extent to which the art and architecture of the region necessarily reflected the geographical location, climate, and expansive urban layout of Los Angeles. To this end, we will consider the critical reception of art of this period, investigating, amongst other critical constructs, the notions of centre and periphery, regionalism and the cultural construction of the American west that shaped much writing on California during the period.

Combine our in-depth sector knowledge with the Careers and Employability Service skills development experience to get noticed when applying for jobs and during interviews.

From constructing an outstanding CV to practicing graduate level interview skills we'll build on your existing abilities.

You'll also get something concrete to talk about through a multi-week work placement. This will be tailored as far as possible to your subject and career aspirations.

This sort of attention to detail is what makes Nottingham graduates some of the most sought after in the job market.

This module is worth 20 credits.

This module surveys the history of American popular music in the 20th century, focusing on the major genres and exploring the artistic, cultural and political issues they raise. In addition to examining the music’s aesthetic qualities genre by genre, the focus will be on key developments within the music industry, on the ways in which commercial and technological changes have influenced the production and consumption of music, and on the ways in which musicians and audiences use pop music to engage with American culture and society. We’ll spend quite a bit of time listening to and analysing music, but you do not need any specialist musical expertise or knowledge to take the module.

This course will consider the contexts and development of contemporary fiction and the novel in the United States and Canada since the 1990s. It will do so by positioning literary works within their wider historical, political and cultural context. The course will examine the dominant ideas and concerns of a number of fictions and novels by writers from a range of ethno-cultural backgrounds. Issues for discussion will include the impact of race, ethnicity, gender, class, generation and sexuality on North American fiction and the novel; the bearing of technology on contemporary fiction; and various debates about the nature of the historical novel in the twenty-first century.

This module examines African American history and culture from slavery to the present through a series of case studies that highlight forms of cultural advocacy and resistance and thus indicate how African Americans have sustained themselves individually and collectively within a racist, yet liberal society. These will illustrate the resilience of African American culture via music, literature, art and material culture. Examples may include the persistence of African elements in slave culture, the emergence of new artistic forms in art, religion and music during the segregation era, and the range and complexity of African American engagement with US public culture since the 1960s across art, literature and popular culture. Weekly topics might include material culture in the Gullah region of South Carolina; or the growth of urban black churches in the North during the period of the Great Migration highlighted by the development of Gospel choirs and radio preaching.

American radicals have been dismissed as impractical, wild-eyed, and subversive - even "un-American"- although many of their most visionary aims have been realized. This module will consider these paradoxes, beginning with the American Revolution in the late 18th century. 19th century subjects will include the abolitionists, early feminism, utopian socialism, anarchism, and farmer populism. 20thcentury subjects will include the Socialist Party in the 1910s, the Communist Party and the anti-Stalinist left in the 1930s, opponents of the Cold War, the 1960s New Left, Black Power militancy, and more recent radicalisms, including the gay liberation movement, women's liberation, and resistance to corporate globalisation.

How can we understand the evolution of America's relationship with the wider world? What interests have been behind the execution of American power?

This module offers a critical introduction to understanding America's place in the world. From the war of 1898, to the conflicts of the early 21st century, we examine how America's involvement abroad has changed over time.

Through historical and political analyses of US foreign relations, we will look at the themes that have shaped America's increasing influence in global affairs.

We consider:

• traditional political and diplomatic issues
• the link between foreign and domestic policies
• the role of foreign actors and private organisations, from religious groups, to citizen organisations, to NGOs that have served to shape America's actions abroad

We will also explore contemporary trends in the history of US foreign policy, including race, gender, emotions, and religion.

This module is worth 20 credits.

This module seeks to analyse the patterns and prevalence of violence in the USA. You will consider theories such as its origins in frontier settler societies and this may allow comparative study of Canada. You will understand the relationship between violence and the gun control debate and the related issue of American ideological antipathy to state power. You will also look at the celebration of violence as a source of conflict resolution and examine the US government’s use of violence as an instrument of foreign policy. Possible topics include violence incidental to settler-native people contact or plantation slavery, the right to bear arms in the Constitution, the resort to force within US foreign policy including atomic weaponry, ‘state terrorism’, and the military-industrial complex.

This module examines the history of immigration to the United States from Europe, Asia, and Latin America. We trace the making and remaking of immigrant communities, cultures, and identities from the nineteenth century to the present day. You will analyse models of race, ethnicity, culture, and nation by focusing on the perception and reception of immigrant groups and their adjustment to US society. We will ask questions such as: How have institutions and ideologies shaped the changing place of immigrants within the United States over time? How have immigrants forged new identities within and beyond the framework of the nation state? And how has immigration transformed US society?

In this module you'll learn about the concepts of ‘transnational’ and ‘postnational’ media, taking into account the movement and interactions of people, finance, technology and ideas around the world. The module addresses in particular global media interactions emerging from tensions between forces of cultural homogenisation and heterogenisation. You'll also develop a foundation of theoretical knowledge to be applied to case studies in global film, television and other screen and print media. This module is worth 20 credits.

American history, from the period of colonisation to the nation's emergence as a global superpower, has always involved intense social and political debate.

This module analyses key texts in the history of American political and social thought, from the settlement period to the present day.

You will be introduced to debates over issues such as:

• religion
• race
• class
• capitalism
• gender
• sexuality
• war

We analyse primary sources by a diverse range of thinkers and writers to interpret these debates, showing how they continue to shape American society and politics in the present.

This module is worth 20 credits.

This module introduces students to the conflicting views about business that can be heard echoing through American literature and culture in the last two centuries. These views are evident when literature and culture directly represent the business culture-its executives, managers and employees, or the physical and mental conditions of employment and entrepreneurship; they are also evident in the narrative unconscious of works appreciated for qualities other than their treatment of business. This module aims to try and understand not only what drives American culture's preoccupation with business, but also to study the various strategies used as literature and culture represents what the module calls the discourses of business: the way that business as a theme is written and talked about in the United States by presidents, by social critics, by journalists, and by writers and other cultural producers; the way that the historical accumulation of this collective input has fashioned a set of rules that govern the way successive generations can think about business; the way that specialised and professionalised languages of business become tropes and metaphors to be used outside of a strictly business environment. The module examines these discourses in a variety of representational forms from the mid-nineteenth century through to the present day: shorts stories and novels; newspapers, magazines and illustrations; speeches, autobiographies and memoirs; film and television.

This module examines developments in American presidential rhetoric.

It begins with early presidents who set the generic conventions (Washington’s Farewell Address) or became models (Lincoln: Second Inaugural/Gettysburg Address) and established the President as an international leader (Woodrow Wilson).

But the core of the module is the impact of changing media from FDR’s radio “fireside chats” through JFK and Reagan’s use of television to Barack Obama’s and Donald Trump’s use of social media.

Much of the focus will be on speeches and press conferences and the interaction between the White House press corps and the President, his speech writing staff, and press secretary.