Film and Literature BA

at University of Warwick

Year One
In the first year on the film side of your degree you will delve into the history of cinema, the fundamentals of film and television criticism, film theory and film and television analysis. You will also take a module called Adaptation, taught jointly by Film and Television Studies and English and Comparative Literary Studies, as well as Modes of Reading, also in the English department.

Year Two
In the second year, you will have more flexibility to tailor the course to your own interests, and core modules will focus on Classical Hollywood Cinema and explore the concept of World-Cinemas using case studies linked to the expertise of your tutors.

Year Three
In the third year, you will have the opportunity to apply to write an independent supervised dissertation and the opportunity to apply for a place on a specialist film production module delivered exclusively by the world-renowned London Film School. You can also explore a wide range of specialist topics supported by the research expertise of staff in the department.

Year One
Adaptation
On this module, Adaptation is considered in its broadest sense: from the traditional conception of the printed page to the filmic image, to the multiform texts crossing contemporary multimedia platforms. The module covers key debates, such as the issue of fidelity, the role of heritage cinema and the rise of contemporary multimedia forms.

Students will engage with the work of major theorists in the field, including Robert Stam and Allesandra Raengo, Sarah Cardwell and Linda Hutcheon, contextualising their approaches within the wider movements of post-structuralism and postmodernism. In the second term, students will undertake detailed analyses of a specific case study. One such case study might, for example, encompass the multiple iterations of hardboiled crime fiction – including radio and filmic adaptations – and the many faces of Sherlock Holmes. The case study will be determined by the research expertise of the module leader.

Film and Television Analysis
Look closely. No, closer still. Let’s watch that again.

In this module, the text is king. We want to give you intensive practice in looking at and listening closely to films and television programmes. Lectures will equip you with the technical and analytical vocabulary of textual analysis. In the discussion-based seminars that follow, you’ll get to practice using and applying these terms yourself in a supportive environment, building up your confidence and command of the terminology that will be your academic language for the next three years. Written work is designed to build you up to a point where you can create your own reasoned and carefully argued interpretations of film texts. We’ll set readings each week that introduce you to the best of critical scholarship, and get you to begin to evaluate and reflect upon other accounts and interpretations of film.

We think it’s really important that you are exposed to a variety of films from different times, in different styles and from different nations. Each year, we carefully choose our film screenings to offer you the chance to experience and compare different approaches to the expressive use of film form and mise-en-scène. We want you to be able to examine, in detail, the ways in which stylistic choices create meaning and affect interpretation.

Film and Television Criticism
In this module you will be introduced to key critical debates in Film and Television Studies. You will explore a range of approaches to critical writing about film as well as the key critical turns in the study of television. There will be a historical focus to this work which will think about the development of film and television scholarship over time.

As your skills develop you will be encouraged to make reasoned and carefully argued interpretations, and to reflect upon the validity of other accounts and interpretations, both in group discussion and through reading of critical scholarship on module films and programmes.

Film History
You will connect your growing understanding of film’s technological development with its industrial and social history. In exploring the relationship between cinema and society, you will increase your understanding of the role of the state in film production, and the place of cinema in mass culture. These fundamental theoretical approaches will be accompanied by case studies, giving you a firm grounding in film history as well as an enhanced understanding of different ways of analysing the historical record.

Film Theory
Film Theory introduces key theoretical concepts related to film form, spectatorship, and politics. The module will enable you to read film theory as a written text and a historical document, and to use it as a theoretical tool for interpreting screen media. As a theory course, the module will give you the skills needed to approach theoretical texts, and we will be focusing as much on analysing written arguments as discussing the screenings.

By the end of the module you will be familiar with some of the key theoretical frameworks and debates in film scholarship, and their position within broader interdisciplinary contexts. You should be able to read complex critical writing with confidence and precision, and to deploy theoretical arguments in your own writing with similar confidence and rigor. You will be able to apply theoretical frameworks to screen media texts in both oral and written communication.

Year Two
Hollywood Cinema
This core module will build on what students have learned about Hollywood in first year modules by expanding their knowledge about Hollywood in what has been deemed its ‘classic’ period. The module will illustrate important aspects about the industrial system that dominated Hollywood filmmaking from the late 1920s to the early 1960s, including style, genre, and stars. By first focusing on Hollywood as an industry, examining the practices and cultures of film production, the module will then consider its ideological influence by promoting specific American values and traditions through political issues, such as race and ethnicity.

World Cinema
The category of ‘world cinema’ represents a point of convergence for both the flattening impulses of a universalizing neoliberalism and the more radical bents of internationalist coalition-building. In other words, such cinema figures large in affective negotiations of global culture, world community and international human rights. This module looks at the wide range of fictional feature films, including the work of Deepa Metha, Akira Kurosawa, Samira Makhmalbaf and Satyajit Ray, among others. This course addresses several specific topics, including: transnational marketing, the touristic gaze, the politics of dubbing/subtitling, and the slow cinema debates.

This module reassesses ‘world cinema’ in light of globalization and global crises. Since the term ‘world cinema’ has always simultaneously invoked industrial, generic and aesthetic categories, our reckoning of the field hopes to expose otherwise unseen geopolitical fault lines. We investigate the historical and current contexts for the widening distribution of non-Hollywood films. We also examine the renaissance of international art cinema practices in recent decades, including new waves from East Asia, Latin America, and the Middle East.

Year Three
Film Aesthetics
You will begin by exploring overarching ideas about aesthetics and how these relate to evaluative, historical and political discourses. The study of film aesthetics will subsequently see you applying these tenets to the evaluation and interpretation of film, particularly in the light of considerations of representation, mode and genre, and social context. By bringing together philosophical and theoretical questions of aesthetics with detailed textual analysis of a range of films, you will learn to apply such concepts to your understanding of contemporary international cinema.

Optional modules
Optional modules can vary from year to year. Example optional modules may include:

• Dissertation
• Film Production
• Practice of Film Criticism
• British Film and Television Fiction
• Envisioning the World
• Hollywood Cinema of the 1970s
• Horror and the Gothic in Film and TV
• Television History and Criticism
• Postwar Japanese Cinema
• Screenwriting
• Issues in Documentary
• Ecocinema
• Global Visions
• The Art of Animation
• Science Fiction Theory as Film
• Film and Social Change
• Queer Screens
• Romantic and Victorian Poetry
• Seventeenth-Century Literature
• Arthurian Literature and its Legacy
• The English Nineteenth-Century Novel
• New Literatures in English
• Literature, Environment, Ecology
• Modernist Cultures
• Asia and the Victorians
• Shakespeare and Selected Dramatists of his Time
• European Theatre
• Twentieth-Century US Literature
• English Literature and Feminisms 1790-1899

All applicants, regardless of their visa requirements, are required to show that their ability to understand and express themselves in both written and spoken English is sufficiently high for them to derive full benefit from their degree course. The level of competence required depends on what type of degree you wish to study. Many applicants can demonstrate this through a satisfactory level of achievement in, for example, GCSE English Language or the English courses within the International Baccalaureate.

Applicants whose academic qualifications meet the University’s admissions requirements, but whose English language qualifications are not accepted as equivalent, may be offered a place at Warwick conditional on an acceptable English language qualification being achieved before they join the University. A number of English language tests are accepted; some of the most frequently offered ones are detailed below.

Please note that certain English tests (including IELTS and PTE) must be taken within two years and one month prior to the start of your course at Warwick. Applicants whose tests fall outside this timescale will need to retake a suitable English language test.

Applicants who require a visa to study in the UK may, depending on the circumstances, be asked to provide evidence of a secure English language test (e.g. IELTS for UKVI (Academic)), rather than an examination (such as International Baccalaureate English) due to the visa requirements set by the UK government.

ENGLISH LANGUAGE REQUIREMENTS FOR UNDERGRADUATE STUDENTS (2022 Entry)

If you do not meet the English Language Requirements for your course in full, you may still be eligible for the course on condition of:

• Meeting the English Language Requirements for our Pre-sessional English course, and
• Successfully completing the Pre-sessional English course

Please use the table below to find the relevant band for the course(s) in which you are interested. You can sort the table by clicking on the heading of the column you wish to sort by.

If you are an overseas or EU student enrolling in 2022, your annual tuition fees will be as follows:

• Band 1 – £22,280 per year (classroom-based courses, including Humanities and most Social Science courses)
• Band 2 – £28,410 per year (laboratory-based courses, plus Theatre and Performance Studies, Economics, and courses provided by Warwick Business School, with exceptions)

Fees for 2023 entry have not been set. We will publish updated information here as soon as it becomes available, so please check back for updates about 2023 fee rates before you apply.

Warwick Undergraduate Global Excellence Scholarship 2022

We believe there should be no barrier to talent. That's why we are committed to offering a scholarship that makes it easier for gifted, ambitious international learners to pursue their academic interests at one of the UK's most prestigious universities. This new scheme will offer international fee-paying students 250 tuition fee discounts ranging from full fees to awards of £13,000 to £2,000 for the full duration of your Undergraduate degree course.

Graduates from these courses have pursued careers such as:

• Programmers
• Curators
• Arts officers
• Producers
• Directors
• Authors
• Writers
• Translators
• Business and related associate professionals
• Journalists, newspaper and periodical editors
• Photographers
• Audio-visual and broadcasting equipment operators
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