French Studies and Film BA Hons - 2021 Entry

Course Structure

Lancaster University offers a range of programmes, some of which follow a structured study programme, and others which offer the chance for you to devise a more flexible programme to complement your main specialism. We divide academic study into two sections - Part 1 (Year 1) and Part 2 (Year 2, 3 and sometimes 4). For most programmes Part 1 requires you to study 120 credits spread over at least three modules which, depending upon your programme, will be drawn from one, two or three different academic subjects. A higher degree of specialisation then develops in subsequent years. For more information about our teaching methods at Lancaster please visit our Teaching and Learning section.

The following courses do not offer modules outside of the subject area due to the structured nature of the programmes: Architecture, Law, Physics, Engineering, Medicine, Sports and Exercise Science, Biochemistry, Biology, Biomedicine and Biomedical Science.

Information contained on the website with respect to modules is correct at the time of publication, and the University will make every reasonable effort to offer modules as advertised. In some cases changes may be necessary and may result in some combinations being unavailable, for example as a result of student feedback, timetabling, Professional Statutory and Regulatory Bodies' (PSRB) requirements, staff changes and new research.

Year 1

Core

• Introduction to Film Studies

  This module is intended to provide you with the essential knowledge and competencies to undertake the academic study of film at university level. The first term provides you with an understanding of the formal and technical composition of films to allow you to undertake detailed analysis of films, from the level of close scrutiny of individual images, and their interrelation with the soundtrack, to the narrative assembly of shots and scenes. Through the analysis of a range of examples, you will be given the opportunity to become familiar with the key formal and semantic conventions of cinema. The second term aims to provide you with a framework knowledge of world film history. By focusing on a selection of key films and filmmakers, this section of the module will explore historically significant movements and themes within international cinema from the 1960s to the present day. This term is thematically organized around issues of ideology and realism, and explores the shifting social and political status of cinema during the last century. In the third term you will undertake a practical project, working with a small group to produce a short film.

• Part I French Studies (Advanced/CEFR: B1)

  This module is designed for students who have already completed an A-level in French or whose French is of a broadly similar standard. The language element aims to enable students both to consolidate and improve their skills in spoken and written French. A further aim is to provide students with an introduction to the historical and cultural development of France in the past, and also to contemporary institutions and society.

  There are three language classes per week, each week, we aim for one of these to be conducted by a French native speaker. In tutorials the emphasis is placed on the acquisition of vocabulary and a firm grasp of French grammatical structures. You will have the opportunity to develop listening and speaking skills usually under the guidance of French native speakers using audio and video materials.

  To explore French culture, you are given the chance to examine how key moments in French history have shaped contemporary French culture, we will look at examples including films, plays, and novels

  Advanced modules usually have three classes per week.

• Part I French Studies (Beginners to CEFR: A2)

  This module is designed for students having little or no knowledge of the French language. Consequently, a substantial part of the module is devoted to intensive language teaching aimed at making the student proficient in both written and spoken French. At the same time, students will be introduced to aspects of French history, culture and society in the twentieth century.

  There are four language classes per week, of which at least one is normally conducted by a French native speaker. Tutorials are based on a textbook, and emphasis is placed on the acquisition of vocabulary and a firm grasp of French grammatical structures. Listening and speaking skills are developed under the guidance of French native speakers using audio and video materials.

  The culture programme consists of a combination of lectures and seminars over 20 weeks. The module looks at how key moments in French history have shaped contemporary French culture (films, plays, novels etc.).

Optional

• Fundamentals: Contemporary Arts and Design

  This module will introduce you to key methods, tools and critical concepts used by academics to understand a broad range of creative work, its discussion and practice historically and today.

• Fundamentals: Film (part 1)

  This module introduces you to university-level study of the arts, and their contexts and interrelations. In this first block, during the first term, students on the Film, Art, Design, and Theatre programmes will work together in mixed seminar groups to explore the different ways in which creative practitioners respond to the world around them. You will be introduced to key critical concepts used by academics to understand the role of creative work historically and today.

• Fundamentals: Film (part 2)

  This module is designed to supplement and enhance the essential knowledge and skills covered in “Introduction to Film Studies”, and develops the study skills that you will require as you progress through the course. It will be taught through lectures, seminars and weekly screenings of case study films, including themes such as Hitchcock and silent cinema in Britain, the Ealing comedies of the 1950’s, the James Bond Franchise, and contemporary Asian British cinema.

Year 2

Core

• French Language: Oral Skills (CEFR: B2)

  This module comprises of both oral and aural skills and must be taken alongside the Written Skills module. It builds upon skills gained in the first year.

  This module aims to enhance students’ linguistic proficiency in spoken French in a range of formal and informal settings (both spontaneous and prepared). Specific attention will be given to developing good, accurate pronunciation and intonations well as fluency, accuracy of grammar, and vocabulary when speaking the language.

  This module also aims at broadening students’ knowledge about different aspects of modern French-speaking society, politics and culture, and contemporary issues and institutions in order to prepare them for residence abroad in their 3rd year.

  By the end of this module, students should have enhanced their comprehension of the spoken language, as used in both formal speech, and in everyday life situations including those that they may encounter in Spanish-speaking countries.

• French Language: Oral skills (post-Beginners/CEFR: B1))

  This module comprises of both oral and aural skills, to be taken alongside the corresponding Written Language module. It builds upon skills gained in the first year of the Intensive course. Students who have taken the Intensive language course in their first year, normally follow this course throughout the second year.

  The module aims to enhance students’ linguistic proficiency in spoken French in a range of formal and informal settings (both spontaneous and prepared). Specific attention will be given to developing good, accurate pronunciation and intonations well as fluency, accuracy of grammar, and vocabulary when speaking the language.

  This module also aims at broadening students’ knowledge about different aspects of modern society, politics and culture, and contemporary issues and institutions in order to prepare them for residence abroad in their 3rd year.

  By the end of this module, students will have had the opportunity to enhance their comprehension of the spoken language, as used in both formal speech, and in everyday life situations including those that they may encounter in French-speaking countries.

• French Language: Written Skills (CEFR: B2)

  This module comprises of reading and writing skills to be taken alongside the Oral Skills module.

  This module aims to consolidate skills gained by students in the first year of study, and enable them to build a level of competence and confidence required to familiarise themselves with the culture and society of countries where French is spoken.

  The module aims to enhance students’ proficiency in the writing of French (notes, reports, summaries, essays, projects, etc.) including translation from and into French; and the systematic study of French lexis, grammar and syntax.

  You will have the opportunity to enhance your linguistic proficiency, with particular emphasis on reading a variety of sources and on writing fluently and accurately in the language, in a variety of registers.

• French Language: Written Skills (post-Beginners/CEFR: B1)

  This module comprises of reading and writing skills to be taken alongside the Oral Skills module.

  This module aims to consolidate skills you have developed in the first year of study, and enable you to build a level of competence and confidence required to familiarise yourselves with the culture and society of countries where your studied language is spoken.

  The module aims to enhance your proficiency in understanding spoken French, as well as in the writing of French (notes, reports, summaries, essays, projects, etc.) including translation from and into French; and the systematic study of French lexis, grammar and syntax.

  The module aims to enhance your linguistic proficiency, with particular emphasis on reading a variety of sources and on writing fluently and accurately in the language, in a variety of registers.

• Hollywood and beyond: Global cinema

  This core module has two main objectives. Firstly, it is designed to develop further your analytical skills in order to examine individual films in greater detail. Secondly, it is intended to encourage you to understand world cinema in relation to a variety of social, cultural, political and industrial contexts. The module will explore such issues as the relationship between film form and modes of production (from industrial film-making through to low-budget art film), theories of film style and aesthetics, and the political function of cinema. In the first term, we focus wholly on various modes of American film production, and in the second term we explore some broader theoretical questions through an analysis of films from a number of different national traditions. Across the whole module, you will gain a thorough grasp not only of the historical factors shaping various national and international cinemas, but also of some key critical and theoretical concepts within the field of film studies.

• Second Year Programme for Academic Skills, Employability and International placement preparation

  This module is a non-credit bearing module. If you are a major student going abroad in your second or third year you are enrolled on it during the year prior to your departure, and timetabled to attend the events. These include: introduction to the Year Abroad and choice of activities; British Council English Language Assistantships and how to apply; introduction to partner universities and how they function; working in companies abroad; finance during the Year Abroad; research skills and questionnaire design; teaching abroad; curriculum writing and employability skills; welfare and wellbeing; Year Abroad Preparation Week in the Summer Term.

• Shaping Contemporary France: Moments and Movements

  This module is divided into four topic areas, usually this comprises of the following:

  • Language and linguistic heritage- this topic covers the evolution of French language from a dialect to a national language, explains the relationship between written and spoken language, and shows language variety: argot, verlan and francophonie.
  • Centralisation and Regionalisation- this topic aims to enhance students’ understanding of the French political system, gastronomy, agriculture, demographics, management of the territory and environment, and transport and communication.
  • Space, Place and the Urban- this topic aims at explaining how the Situationists, Dadaists, Surrealists, Le Corbusier and Henri Lefebvre influenced urbanism.
  • Education, Science, Technology and Innovation- this topic covers the development and the structure of contemporary education in the French Republic, and aims at expanding students’ knowledge about modernism and development of technology.

Optional

• Critical Reflections

  This module provides an introduction to critical theory in the arts and its application to aesthetics and art. The first term concentrates on 'structures' in artworks and the second on 'identities'. The structure of the module is six three-week blocks: (1) ‘Form and Structure’, (2) ‘Semiotics and Authorship’, (3) ‘Phenomenology and Spectatorship’, (4) ‘Sex/uality and Gender’, (5) ‘Race and Ethnicity’, and (6) ‘Class and Society’.

  Weekly plenary lectures make connections across the arts, and weekly, two hour seminars/ workshops allow students to work in your subject groups (art, film, theatre, design) on ideas and examples specifically tailored towards these disciplines.

• Documentary Film: History and Theory

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

• Economic and Social Change in France, Germany and Spain since 1945

  This module explores how post-war economic change has affected European societies, and how socio-political factors in turn have influenced the patterns and outcomes of economic development, over the second half of the twentieth and the beginning of the twenty first century.

  The module is structured on the basis of three country-specific modules (France, Germany and Spain), examining how these countries have confronted key moments of economic change, and what the longer-term consequences of that change have been. While the module emphasis is on broad national developments, discussion also covers examples relating to particular industries and major companies.

  In lectures, workshops and seminars we will explore the context of reconstruction after World War II and the pattern of subsequent economic development; the relationship between social and economic policies; the development of the three country's economies; the changes of the 1980s and their impact on subsequent years; and the consequences of specific momentous events, such as the re-unification of Germany and how the financial crisis of 2008 affected, and still affects, France, Germany and Spain.

• European New Wave Cinema

  The module aims to develop an understanding of historically important European films from the 1950s to the 1980s and the stylistic and historical significance of these films. It will explore the thematic importance of these films and consider the critical debates relating to this period of filmmaking enabling students to develop a critical understanding of the conditions of production, reception and distribution of these films.

• Film and Comic Books

  This module examines a historical genre that now occupies the economic centre of Hollywood film production. The module focuses centrally on film and comic book aesthetics; on questions of narration and visual depiction in these two related media; on the shifting norms of this film genre in relation to technological change across history; and on the significance and uses of the comic-book film in society. The module develops ideas and skills introduced in the core Film Studies modules taken as part of the film studies and combined degrees.

• Language and Identity in France, Germany and Spain

  This module will introduce you to the role that the language used by institutions plays in shaping individual perceptions of identity. It aims to provide you with a basic theoretical framework that allows them to understand the relationship between language and power as reflected in current language policies at regional, national, and supranational levels. It will give you the opportunity to recognise forms of prestige and stigma associated with varieties of the three main languages under study. We aim for this module to raise critical awareness of the portrayal and representation of linguistic variations in the media and in the sphere of literature.

  The main topics covered in the course include Language and Power; European language policies; German as a pluricentric language and ‘Gastarbeiter’ language and policies; regional variations of France: Linguistic Diversity: A threat to French National Identity?; The languages and language attitudes of Spain (Castilian Spanish, Catalan, Basque, Galician).

  This module is taught in English.

• LICA Schools Placement

  If you are thinking of a career in teaching, this voluntary placement offers the opportunity to work in a primary, secondary or special needs school. Working alongside a teacher, you will have the opportunity to gain valuable classroom experience. Normally, this would be through teaching a class or working with a designated group of pupils.

  The module gives you the opportunity to understand how a work environment functions and how you can contribute to this. It will give you the chance to develop a range of transferable skills and apply your knowledge and understanding of your placement.

  Places on this module are limited and there is an internal application process to secure your place.

• Perception and the Arts

  This module explores the relationships between the arts and how we see and hear. Artists are aware, consciously or unconsciously, of the processes and limitations of perception. They often play with our perceptions in their works to make something which draws our attention, makes us see something in a different way, or gives us a kind of perceptual puzzle or challenge. The module also explores recent scientific research on perceiving art and how that relates to ordinary perception.

  Assessment is by an essay and an exam.

• Professional Contexts for Modern Languages

  This module seeks to support you to apply your linguistic and cultural understanding in a specific professional context. This module gives you the opportunity to spend time on a work-based placement in the UK or abroad. You will be given the opportunity to develop, reflect on and articulate both the range of competences and the linguistic and cross-cultural skills that enhance employability by working in language-related professional contexts and reflecting on key issues in relation to their placement organisation. There is the opportunity to join a local work placement developed by the department, or for you to source your own placements (subject to departmental approval). Workshops before and during the placement will provide preparation and guidance on sourcing, confirming and then reflecting on academic work. Students will share their experiences and learning with each other by means of end-of-module presentations.

• Society on Screen: The Language of Film

  How do films deal with topics like terrorism, immigration, resistance and city life? Do they entertain viewers, instruct them, or both?

  This module explores European and Latin American films in their social and historical contexts. The main aim is to make connections between the films and such contexts not only on the level of narrative, characterisation and dialogue, but also on that of form and technique.

  To these ends, there will be introductory lectures on cinema and society and on film aesthetics and content in the first week of the module. The connections mentioned will be the focus of seminars and presentations within the four core topic areas: terrorism, migration, the city and resistance.

  The module usually consists of four strands on cinema and society: Terrorism, Migration and Hybrid identities, The City and Collaboration/Resistance.

  Each strand will be introduced with a lecture and followed by seminars on the set films. Students will give a presentation on a short sequence within their allocated film.

• Understanding culture

  This module aims to give you a background to and insight into the diversity of twentieth and twenty-first century thought and contemporary definitions of culture.

  Some key questions explored on the module include: What is 'culture' and how does it work? How do 'art' and 'culture' relate to each other? What do we mean when we talk about the production and consumption of culture? Why does popular culture arouse conflicting responses? What role does the body play in our understanding of culture? How does culture define who we are? Can a work of culture be an act of resistance?

  With these questions in mind, this module focuses on texts which raise questions about class, race, gender, and subcultures.

• What Is The Contemporary?

  This module aims to give students a grounding in “the contemporary” as a key critical concept used in artistic discourses, and provide a number of ways that students can explore and articulate their own contemporaneity. In conversation with cutting edge ideas from art, science, technology and popular culture, the module will enable participants to discuss and identify what they are contemporaries of, how they relate to their own time as artists, citizens and critical writers and what this necessitates in their own practices.

  Students will engage in critical discussion of key terms used to define the current moment, such as Anthropocene, Singularity, Post-Truth, and Globalisation, as well as understanding how particular technologies and phenomena, such as distributed and decentralised networks, virtual reality, artificial intelligence and genetic engineering are reshaping the contexts in which the arts are made. These topics are explored through lectures and seminar discussions in which students are encouraged to produce and define their own position and modes for articulating what makes them contemporary.

  The module is designed for creative students who wish to use writing and material practice to explore their own relationship to the ecologies, politics, trends, technologies, and aesthetics that typify our experience of the world today.

• Women Film Makers

  This module will explore the work of some of the most historically important female film-makers from the 1890s through to the present, considering films from around the globe. The module will examine the significant but often marginalized and obscured roles that women have played in industrial, experimental and avant-garde film production across a spectrum of roles from costume and production designers through to screen-writers, editors and directors. You will be invited to reflect upon the fact that, despite playing key roles in the development of the medium, women continue to be excluded at all levels of film production. The decision by Hollywood star and activist Geena Davis to establish a campaigning ‘Institute on Gender in Media’ is a measure of the urgency of this subject.

  The module will engage with revisionist film histories concerned with interrogating the dominant bias of academic and popular histories of the medium; it will also draw on feminist film theory concerned both with a critical understanding of mainstream cinema and the development of politicized women’s cinemas. The module will examine a series of female directors and their work, and each week will be oriented around the screening of a case study film that will be the focus for the seminar. An example of directors included is Alice Guy-Blaché, Dorothy Arzner, Leni Riefenstahl, Ida Lupino, Laura Mulvey, Mira Nair, Kathryn Bigelow, Marziyeh Meshkini, Lynne Ramsay.

  Assessment is by a combination of coursework essay and exam.

Year 3

Core

• International Placement Year: Intercultural and Academic Reflection

  As part of The International Placement Year you will normally spend at least eight months abroad in your third year. You will have the opportunity to:

  • analyse the contemporary relevance of a tradition, contemporary social, political or economic issue, or a living part of the regional culture.
  • reflect critically on cultural differences observed in everyday life such as social relationships, politics, attitudes to food, drink, religion, etc., explaining them in the context of various historical, social and cultural developments.
  • think analytically about your intercultural position and understanding of the relevant culture(s).
  • reflect on language use (different registers, varieties of pronunciation and accents, dialects, vocabulary and idiomatic expressions, and aspects of grammar) and the process of the acquisition of skills in the relevant language(s).

  The module also aims to enhance and develop your language skills, with all assessments being written in the target language. If you have started a language as a beginner in year one you will spend a minimum of four months in a country where that language is spoken. If you are a joint honours student who is studying two languages, you may choose to spend the year in either of the two countries concerned or, if appropriate arrangements can be made, you can spend a semester in each country.

  Lancaster University will make reasonable endeavours to place students at an approved overseas partner. Students conduct either a study placement at a partner University, a teaching assistantship placement with The British council or an appropriate working placement with a vetted employer abroad or a combination of placements (please note that there are some restrictions on British Council placements which usually last for the whole of the academic year).

  Joint honours degrees

  If you are a joint honours student who is combining a language with a non-language subject, your placement year will provide the opportunity to develop your language skills and cultural awareness, but will not necessarily relate to the non-language aspect of your degree.

  Lancaster University cannot accept responsibility for any financial aspects of your International Placement Year.

Year 4

Core

• French Language: Oral Skills (CEFR: C1/C2)

  This module is integrated with the French Language: Written Skills module.

  Both the oral and the written language modules focus on particular topics of cultural and contemporary interest. The general aim of these modules is to develop further the abilities the students gained during their second year and the year abroad.

  By the end of this module, we aim for you to have developed an informed interest in the society and culture of the French-speaking world. They should also have acquired almost native-speaker abilities in both spoken and written language.

• French Language: Written Skills (CEFR: C1/C2)

  This module is integrated with the French Language: Oral Skills module.

  This module has two main aims. The first one is to enhance your linguistic proficiency with emphasis on understanding of spoken and written French, the speaking of French (prepared and spontaneous) in both formal and informal settings, the writing of French, and the systematic study of French lexis, grammar and syntax. The second aim is to increase your awareness, knowledge and understanding of contemporary France.

  By the end of this module we aim for you to have an informed interest in the society and culture of the French-speaking world. They should also have acquired almost native-speaker abilities in both spoken and written language.

Optional

• Advanced Film Theory

  This third-year course will add to the theoretical, historical and cultural aspects of film investigated in Years 1 and 2, while focusing more closely on the challenging aesthetic and critical debates surrounding the concept of modernity. It will look at films made in the silent era, in post-war Europe and in Britain and the US. Writings on film will be considered in conjunction with viewings of particular films, close analysis of specific filmic techniques and methods, and historical and theoretical approaches to film. The course will also pay attention to the debates of classical and contemporary film theory, feminist approaches and other critical traditions (semiotics, structuralism, formalism, cognitivism). Building on the approach to film taken in Global Cinema: Hollywood and Beyond, this course focuses on film theory as students are introduced to key debates in classical and contemporary film theory, with topics exploring the relations between film and art, cinema and politics, cinema and psychoanalysis, and, above all, the question of how films produce meaning(s).

• Apocalypse Then: New Hollywood Cinema

  This module centres on the artistically and politically adventurous phase of American filmmaking circa 1967-1979.

  Typcailly topics studied include:

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

  This module is designed to provide you with a chance to explore one of America's significant cultural contributions to the twentieth century - the motion picture. You are introduced to the American cinema through a genre approach to a series of selected films. This entails that you frame the formal and aesthetic aspects of Hollywood filmmaking in an appropriate social, historical, cultural, and industrial context. In considering why certain popular narrative formulas (such as the Western and the Gangster) are so deeply associated with American commercial screen art, lectures and seminars will attend to movie production as a dynamic process of exchange between the film industry and its mass audience.

• Contemporary Cities in Literature and Film

  This module introduces you to major themes that shape the experience of contemporary city dwellers: gender, social inequality, and practices of citizenship. These interlinking themes will be introduced through novels, poetry and films on the following European, North American (with the emphasis on immigrant communities within its cities) and Latin American cities: New York, Mexico City, Santiago de Chile, Barcelona, Berlin, and Los Angeles.

  Each topic will be covered though an introductory lecture and a core text, followed by a range of additional texts for students to analyse. During workshops students will share their findings and opinions, emphasizing on identifying links between the topics studied, aiming to encourage discussion.

  The format of the module encourages cross-referencing between the themes of the module (for example, gender and sexuality are relevant to an analysis of social inequality, and vice versa).

• Contemporary Hong Kong Cinema

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

• Creative Enterprise

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

• Dissertation

  This core module is directed towards completion of an independent research project on a topic of your choice, presented in the form of a dissertation. The course is taught through lectures focused on research skills and one-to-one supervision. Students of Film can choose to make a short film as part of their project, and students of Design are encouraged to do a practical design project.

• Francophone Voices: Literature and Film from Sub-Saharan Africa, the Caribbean and Canada

  This final year module will provide you with an overview of the range of literature and culture produced in Sub-Saharan Africa, the French Caribbean and France to better understand the various relationships between France and these different parts of the Francophone world.

  You will be given the opportunity to identify and discuss themes that they will find through analysis of a selection of novels and films. These themes will include language and style, and issues addressed by writers and film-makers in relation to identity, gender, culture, history, and representation itself.

  Exploration of La Francophonie, the French Mission Civilisatrice, and relationships between contemporary France and her former colonies will provide context for the study of these novels and films. Discussions will be informed by the work of thinkers including Franz Fanon and Edward Said.

  This module is taught in English and all texts are available in English.

• French Culture in the Digital Age

  Technological progress now affects virtually every aspect of Western culture and society and it has become impossible to speak about contemporary culture without taking into account the radical transformations induced by digitization in both practices and concepts. This module introduces you to the most important phenomena and issues that arise in this context in France in particular and allows you to explore how artists use the new possibilities offered by the internet. The discourses about the effects of technology are as wide-ranging as the effects themselves, generating much confusion and often also superficial judgements about the uses and dangers of the Internet in particular. The module therefore begins by clarifying the most important concepts and the problems surrounding digitisation. It then takes a closer look at some of the fascinating cultural artefacts technology has inspired and enabled since the 1990s in the French context, and at the ways in which the life and meaning of "literature" has evolved."

• Full Unit Dissertation

  This module is assessed entirely through coursework. You are given a chance of pursuing a topic of their own interest, which is not covered in taught options. A dissertation consists of approximately 10,000 words written in English. The topic of dissertation must relate to French/German/Spanish language, or a comparison between two or more, or a general European issue. The other two restrictions on topic choice are: it must be capable of and approached from a serious academic angle and it falls within the range of expertise of a member of the Department’s staff.

  Each student will be assigned a supervisor - one of the lecturers from the Department, who will provide regular supervision, and feedback on the first draft of the completed dissertation. The topic is agreed and discussed with the supervisor in the Summer Term of the second year, and preparatory research should begin during the Year Abroad.

• Imagining Modern Europe: Post-Revolutionary Utopias and Ideologies in the First Half of the Nineteenth Century

  This module aims at exploring the nature of the relationship between the individual and society, notions of progress and economic justice, as these are still widely debated topics in contemporary Europe in light of the current economic and political crisis.

  This module will use the concepts of utopia, dystopia and ideology as a forum for discussion on the relationship between individual imagination and social discourse in the nineteenth century, as well as the relationship between fiction and political discourse. You will look at the major intellectual debates which influenced the contemporary European thought after the French Revolution.

  You will explore the development of major ideologies and cultural movements such as Romanticism, Marxism, Socialism and Positivism, spanning from the period immediately following the French Revolution to the middle of the nineteenth century.

• Silent Cinema

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

• Translation as a Cultural Practice

  What makes a good translation and how do translations do good? This module aims to help you understand the practice of translation as it has evolved historically from the 18th century to the present across European and American societies. The materials we study include historical textual sources (philosophical essays on the craft of translation from French, German and Hispanic authors of the 19th and 20th centuries), representative fictional texts reflecting on translation processes, and contemporary documents from the EU directorate on translation, PEN and the Translators' Association. We will also make considerable use of contemporary online resources as exemplified by Anglophone advocates of intercultural exchange such as Words Without Borders. Our aim is to look at translation as both a functional process for getting text in one language accurately into another and a culturally-inflected process that varies in its status and purpose from one context to another. We will pay particular attention to the practical role that literary translators play within the contemporary global publishing industry and consider the practicalities of following a career in literary translation in the Anglophone world.