Undergraduate Film And Visual Culture 2026-2027

What is Visual Culture? Over the last twenty years, the visual landscape has become digital, virtual, viral, and global. A vibrant cross-section of scholars and practitioners from Art History, Critical Theory, Cultural Studies, Anthropology, and Film Studies have responded, not only engaging contemporary image production and consumption, but also the foundations of visual knowledge: What is an image? What is vision? How and why do we look, gaze, and spectate? From the nomadic pathways of the digital archive to the embodied look that looks back, this course will introduce students to the key concepts that shape this fluid field.

The first half of a film history sequence at the second year level, Visualising Modernity focuses on crucial moments, concepts and cinematic works from the period 1895 to 1945. Students will be marked according to a mid-term essay, a final exam, short assignments on Blackboard, and attendance in lectures and tutorials.

The second half of a film history sequence at the second year level, Cinema & Revolution focuses on crucial moments, concepts and cinematic works from the period between 1945 and the present. Students will be marked according to a mid-term essay, a final exam, short assignments on Blackboard, and participation and attendance in lectures and tutorials. 

A continent of over 50 countries and yet frequently ‘Othered’ and unexplored in mainstream cinematic landscapes. For those that know little about Africa, and some of the key political and social events that have helped to shape the continent, this module seeks to introduce and establish an interest in the modern history and cinematic output of this great land. Beginning with Nollywood and concluding with Wakaliwood, this module explores sub-Saharan African cinema, from older classics such as Mandabi (1968) to exciting new frontiers, typified by the success of District 9 (2009).

Music has been fundamental to the way that cinema tells stories. Whether through a specially-composed soundtrack or through the careful selection of existing pieces, music cues characters, evokes a sense of place or atmosphere, be it suspense, horror, nostalgia, or romance. This course will offer students the opportunity to critically engage with some of the most emblematic film soundtracks in the history of cinema.

This interdisciplinary course is suitable for students of Film & Visual Culture or Music. You do not need to be experienced in the study of both subjects to take this course.

The course will focus on the relationship between the cinema and the urban environment, focusing on specific thematic issues. These include: the city and cinematic visions of utopia/dystopia; the city and the figure of the detective/flaneur/flaneuse; the city as site of cultural encounter and social conflict; the city as a site of globalisation; the city and production and consumption; the city and the development/reworking of cinematic tradition. The course will also explore the relationship between the experience of cinematic space and urban space, and how they have been interconnected throughout the history of cinema.

Eurovision is the largest musical event in the world, followed by 70 million people every year. Since its beginnings in 1956, the concept of Eurovision has been changing over the years and through different historical periods, especially with regard to conflicts and European identity and sense of belonging.

The popularity of the event makes it globally recognized by the general public, but what is hidden behind the festival? what meanings do the performances and visual representations have? how are countries, different cultures and folklore represented? Is Eurovision political? How does Eurovision represent national identity?

The purpose of this course is to study the different representation methods offered by the Eurovision Song Contest through not only its history, but also analysing the most recent examples of the festival, focusing especially on the new millennium, with the arrival of new countries into the contest.

This course, which includes both fiction and documentary film, considers the strong political dimension of 21st-century German and Austrian filmmaking, as contemporary German and Austrian filmmakers not only engage with societal and historical issues in their home countries, but also turn their attention to global problems such as modern-day food production, the refugee crisis, and the global economy. The course will include films by Fatih Akin, Ruth Beckermann, Nikolaus Geyrhalter, Valeska Grisebach, Michael Haneke, Carmen Losmann, Christian Petzold, and Hans Weingartner.

The module offers a comprehensive look at how documentary has interrogated, and in some rare cases even influenced, politics, social values, and even popular culture. Students will be expected to look at how documentary filmmakers have built upon the famous Griersonian quote – ‘the creative treatment of actuality’ – to evolve the form’s style and scope as well as to challenge the very notion of filmic truth and reality. Attendees to the module will also learn how to identify the key documentary modes and be expected to analyse and understand how the movement’s use of transgressive visual images, no matter how apparently ‘genuine’, is frequently presented through a cinematic perspective that is not always objective. Furthermore, the module will require students to produce a short documentary or individual video essay (in documentary form) and, in doing so, explore the challenges of objective presentations.

This course will invite students to explore the ways film and literature can engage with and represent a variety of landscapes, and how, in turn, landscape can influence both the production of the work and the creation of meaning. We will study selected works of film and literature from the twentieth and twenty-first centuries, including mainstream and independent cinema, poetry, and fiction and non-fiction literary texts that have been adapted for film. We will look at ways in which various landscapes may have been appropriated for their emotive qualities: to connote feelings of desolation, oppression or plenitude; loneliness, fear or joy. We will also look at landscapes as sites of specific cultural history. As the course progresses, drawing on contemporary research in cultural and human geographies, and elsewhere, we will explore the ways that studying landscapes of film and literature can assist in our ability to conceive landscape not only as a static or symbolic entity, but as a highly mobile, interactive site in which history, experience and materiality converge in the ongoing production of space and meaning. In this way, we will consider how the works studied articulate John Wylie’s provocative claim that ‘landscape is tension’. 

This interdisciplinary course will draw on writings from literary, film and cultural theorists, philosophers, artists and social scientists. 

The course will examine the medium of Franco-Belgian comics, also known as bande dessinée, and analyse their formal features and contexts. After providing an insight into the historical development of the field, it will consider the popular and academic reception of the medium and cover contemporary case studies.  

A continent of over 50 countries and yet frequently ‘Othered’ and unexplored in mainstream cinematic landscapes. For those that know little about Africa, and some of the key political and social events that have helped to shape the continent, this module seeks to introduce and establish an interest in the modern history and cinematic output of this great land. Beginning with Nollywood and concluding with Wakaliwood, this module explores sub-Saharan African cinema, from older classics such as Mandabi (1968) to exciting new frontiers, typified by the success of District 9 (2009).

Music has been fundamental to the way that cinema tells stories. Whether through a specially-composed soundtrack or through the careful selection of existing pieces, music cues characters, evokes a sense of place or atmosphere, be it suspense, horror, nostalgia, or romance. This course will offer students the opportunity to critically engage with some of the most emblematic film soundtracks in the history of cinema.

This interdisciplinary course is suitable for students of Film & Visual Culture or Music. You do not need to be experienced in the study of both subjects to take this course.

The course will focus on the relationship between the cinema and the urban environment, focusing on specific thematic issues. These include: the city and cinematic visions of utopia/dystopia; the city and the figure of the detective/fl-neur/fl-neuse; the city as site of cultural encounter and social conflict; the city as a site of globalisation; the city and production and consumption; the city and the development/reworking of cinematic tradition. The course will also explore the relationship between the experience of cinematic space and urban space, and how they have been interconnected throughout the history of cinema.

The Dissertation in FVC provides students with the opportunity to undertake independent study on a topic of their choosing within Film and Visual Culture. Students can elect to undertake a written or a practical dissertation. The written dissertation is a research essay of 8,000 words (+/- 10%). Practical dissertations involve the production of a piece of creative work such as a short film or portfolio of visual material and an accompanying essay of 5,000 words (+/- 10%). Students will be supported in their dissertations through supervisory meetings and two group workshops which will take place during the semester.

Eurovision is the largest musical event in the world, followed by 70 million people every year. Since its beginnings in 1956, the concept of Eurovision has been changing over the years and through different historical periods, especially with regard to conflicts and European identity and sense of belonging.

The popularity of the event makes it globally recognized by the general public, but what is hidden behind the festival? what meanings do the performances and visual representations have? how are countries, different cultures and folklore represented? Is Eurovision political? How does Eurovision represent national identity?

The purpose of this course is to study the different representation methods offered by the Eurovision Song Contest through not only its history, but also analysing the most recent examples of the festival, focusing especially on the new millennium, with the arrival of new countries into the contest.

This course, which includes both fiction and documentary film, considers the strong political dimension of 21st-century German and Austrian filmmaking, as contemporary German and Austrian filmmakers not only engage with societal and historical issues in their home countries, but also turn their attention to global problems such as modern-day food production, the refugee crisis, and the global economy. The course will include films by Fatih Akin, Ruth Beckermann, Nikolaus Geyrhalter, Valeska Grisebach, Michael Haneke, Carmen Losmann, Christian Petzold, and Hans Weingartner.

The module offers a comprehensive look at how documentary has interrogated, and in some rare cases even influenced, politics, social values, and even popular culture. Students will be expected to look at how documentary filmmakers have built upon the famous Griersonian quote – ‘the creative treatment of actuality’ – to evolve the form’s style and scope as well as to challenge the very notion of filmic truth and reality. Attendees to the module will also learn how to identify the key documentary modes and be expected to analyse and understand how the movement’s use of transgressive visual images, no matter how apparently ‘genuine’, is frequently presented through a cinematic perspective that is not always objective. Furthermore, the module will require students to produce a short documentary or individual video essay (in documentary form) and, in doing so, explore the challenges of objective presentations.

This course will invite students to explore the ways film and literature can engage with and represent a variety of landscapes, and how, in turn, landscape can influence both the production of the work and the creation of meaning. We will study selected works of film and literature from the twentieth and twenty-first centuries, including mainstream and independent cinema, poetry, and fiction and non-fiction literary texts that have been adapted for film. We will look at ways in which various landscapes may have been appropriated for their emotive qualities: to connote feelings of desolation, oppression or plenitude; loneliness, fear or joy. We will also look at landscapes as sites of specific cultural history. As the course progresses, drawing on contemporary research in cultural and human geographies, and elsewhere, we will explore the ways that studying landscapes of film and literature can assist in our ability to conceive landscape not only as a static or symbolic entity, but as a highly mobile, interactive site in which history, experience and materiality converge in the ongoing production of space and meaning. In this way, we will consider how the works studied articulate John Wylie’s provocative claim that ‘landscape is tension’. 

This interdisciplinary course will draw on writings from literary, film and cultural theorists, philosophers, artists and social scientists. 

The course will examine the medium of Franco-Belgian comics, also known as bande dessinée, and analyse their formal features and contexts. After providing an insight into the historical development of the field, it will consider the popular and academic reception of the medium and cover contemporary case studies.