School of Creative Arts |
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On this page:Film Studies |
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Music |
Film Studies
*Please be advised that Film can only accommodate one visiting student per module| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | British Cinemas FSU33012 |
5 ECTs | Michaelmas | None | 90%- Individual Essay 10%-Participation in classroom discussion and debate |
22 Hours | Ruth Barton |
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Description
Moving from David Lean’s Brief Encounter and the films of Powell and Pressburger, through the cinema of the British New Wave, of Ken Loach and on to Gurinder Chadha’s Bend it Like Beckham and Oldroyd’s Lady Macbeth (2016), this course provides a history of British cinema in the post-war period. We will be discussing the idea of a British art film and the influence on British cinema of government policies as well as analysing the films and discussing their themes. On successful completion of this module, students should be able to: discuss the development of the British film industry in this period discuss how film has represented ethnic identities in post-war British society Discuss the representation of history and heritage in British cinema Discuss the representation of place in British cinema Make a group presentation on a topic of choice
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | FSU33006 Melodrama |
5 ECTs | Michaelmas Term/Semester 1 | None |
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22 Hours | Paula Quigley |
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Description
This module will assess the impact of socio-cultural, economic and industrial factors on Hollywood film production from the late 1960s up to and including the late 1980s and early 1990s. We will discuss the emergence of so-called ‘New Hollywood’ in the late 1960s along with the diverse range of output that characterised the 1970s, as well as considering film styles and trends that emerged in the 1980s On successful completion of this module, students should be able to: 1. Analyse the forces and factors that allowed a ‘new’ Hollywood to develop 2. Contextualise their knowledge of the Hollywood film industry’s output from the late 1960s to the early 1990s within its social, cultural, economic, and industrial framework 3. Differentiate between the diverse range of material that characterized the output of the Hollywood film industry during this period in its history 4. Apply the theoretical models and critical approaches under discussion to specific films and film styles from this period 5. Evaluate the impact of the various outputs of this period on subsequent Hollywood film production| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | Global Gothic FSU33027 |
5 ECTs | Michaelmas | None | The course will be assessed by one essay/video essay (90%) and class attendance/participation (10%). |
22 Hours | Ruth Barton |
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Description
Taking a selection of films from Irish, Hollywood, Spanish and Asian filmmakers, we will consider how useful it is to interpret these films as responding to representational traditions of the Gothic. We will discuss the aesthetics of the Global Gothic, key filmmakers, and production contexts. Works from the mid- and late-twentieth century will be studied alongside more recent productions in order to provide historical points of comparison. Rationale and Aims: Drawing on relevant critical theory, this module will examine the output of three national cinemas and the work of a selection of filmmakers working in transnational cinema to consider how the Gothic travels across multiple territories, updating and adapting as it migrates. This course will enable students to: • synthesise their knowledge within economic, industrial, aesthetic, and socio-cultural contexts • be conversant with the historical, political, and social backgrounds to these works • evaluate the shifting nature of film representation in the periods covered • apply the critical approaches under discussion to specific films
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | Contemporary Non- Western Cinemas FSU44020 |
10 ECTs | Michaelmas | None | Written Assignment – 90% Participation/Attendance- 10% |
22 Hours | Conor O’ Kelly |
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Description
This module explores the development of non-western cinema with reference to films from the last twenty years. Studying films from the Americas, Asia and Australia, the module will explore the historical development of filmmaking with reference to specific national and cultural identities. With reference to the manner that cinema is a powerfully ideological medium the module will examine how film is used to express marginalized political positions. The course examines cinematic representation through several diverse theoretical methods. Learning Outcomes Discuss comprehensively key film movements, directors, and critical writings in the context of current non-western cinema. Apply relevant theoretical models to examples of contemporary non-western cinema. Express a global perspective in relation to cultural and artistic representation. Effectively communicate the findings of their analysis and synthesis of knowledge through written and audio-visual mediums.
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | FSU44018 Digital Storyworlds |
10 ECTs | Michaelmas | None | Group project and pitch – 80% Participation/Attendance- 10% Essay – 1200 words – 10% |
22 Hours | Jennifer O’ Meara |
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Description
Media are fundamental to our sense of living in a social world. Since the beginning of modernity, media have transformed the scale on which we act as social beings. And now in the era of digital media, media themselves are being transformed as platforms, content, and producers multiply. This has led to recent developments in what are often-termed ‘Digital Storyworlds’: spaces in which narrative is spread across different platforms and formats, using various strategies of transmedia storytelling. These interconnected narratives can be fiction or non-fiction based and official media outputs or more grassroots ‘fan’ produced works. In this module, students will explore the forms and functions of transmedia narratives and begin to understand how to develop and create their own story world within which real or imagined objects, individuals, events, and research can co-exist to “tell” a story. In thinking about the structures and aesthetics associated with such digital narrative worlds, students will consider how they can be contracted (as in short GIFs) or expanded (as with fan works and Virtual and Augmented Reality). On successful completion of this module, students should be able to: Theorise existing digital Storyworlds using relevant theories related to convergence, participatory culture, and fandom Critically examine case studies of different forms of digital storytelling Plan and develop aspects of a Digital Storyworlds Work effectively in a group to pitch a critical and creative digital project
Music
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | MUU11014 Pop Music |
5 ECTs | Sem 1 | None | Essay: 3500 word essay (topic to be approved by the module coordinator) LO Addressed: L01, L02, L03, L04 % of total: 100 Webinar contribution: Participation in classes/online webinars is mandatory (non-negotiable)
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Dr Jonathan Hodgers |
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Description
On successful completion of this module, students should:
LO1. Possess an encyclopaedic and comprehensive knowledge of popular music history
LO2. Be capable of authoring an academically-sound essay (to peer-review standards)
LO3. Be capable of deliberating intelligently on the relationship between the interlocking music industry actors past and present, e.g., society, subgenre, gender, technology, labels, venues, broadcasters, studios, online entities…
LO4. Be familiar with the roles played by the analogue and digital technologies of popular music
This module explores the nature of popular music and its relationship to society, culture, politics, gender politics and identity. The main corpus of the module surveys the genres of popular music ranging from Tin Pan Alley to blues, jazz, rhythm and blues (R&B), rockabilly, rock n roll, exotica, country, folk, soul, rock, psychedelic, heavy metal, punk, post-punk, goth, disco, hip-hop, nu R&B, EDM*, fusion, and world music. Concomitant with this is a discourse of popular music studies and the various trends in cultural and sociological texts that have prompted new ways of examining the relationship between popular music and social and cultural identities.
*electronic dance music
Online lectures, webinars, and networked activities. Video, audio and texts dissemination via shared central resource.
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | MUU33018 Irish Music: History, Structure, Performance |
5 ECTs | Sem 1 | N/A | Essay: Students will complete one essay (2000 words) on a given topic. Analysis /composition portfolio: Students will present a short portfolio of assigned work on given exercises. Reflective journal /performance /continuous assessment: Students will engage with traditional repertoire, technique and pedagogical methodologies through practical performance on the tin whistle. Reflective journals will focus critical engagement with the methodologies employed, which will be partially assessed through discussion and performance at the end of the module. |
2 Hours per week. 66 Hours Independent study (course prep and review of Materials) 44 Hours (Prep for assessment, incl. completion of assessment) | Dr Robert Harvey |
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Description
On successful completion of this module, students should be able to: LO1. Discuss forms, tune-types, key exponents and the performance characteristics of regional/individual styles and compositional techniques found in Irish traditional music from the late eighteenth century to the present day. LO2. Apply critical and analytic perspectives to specific stylistic and socio-musical trends and contemporary issues in the field of Irish traditional music studies LO3. Engage through experiential and reflective practice with pedagogical methodologies and means of transmission within an aural tradition
Topics covered in this module include: The links between Trinity College Dublin and Irish Traditional Music The Music of Sean O Riada, Seamus Ennis, The Bothy Band Donal Lunny, Mairtin Hayes, Willie Clancy etc The History and Development of Irish Music The Harping tradition, The Sean Nos singing tradition The Uilleann Pipe tradition Master and Apprentice/Legitimate Peripheral Participation styles of learning traditional music; pedagogy development Group Music Learning Dance Music Slow Airs Ornamentation Fusion Aural Development Reflection strategies Structuring traditional sequences for learning Approaches to traditional Irish Music/regional styles Performance Assessing and evaluating traditional music
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | MUU33019 Heavy Metal |
5 ECTs | Sem 1 | None |
Heavy metal concerts/venues, trip to authentic local heavy metal specialist record store. |
LO3 |
Mr Richard Duckworth |
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Description
On successful completion of this module, students should be able to:
LO1. Discuss the key historical concepts, terms, strategies and practices in heavy metal from its genesis to the present day
LO2. Accurately differentiate between different types of metal sub-genres with knowledge of their defining characteristics
LO3. Outline sociological and aesthetic factors which help define the genre
LO4. Communicate competently in writing the themes of the module
LO5. Explain the applications of technology in heavy metal
This module will explore the origins and development of the Heavy Metal genre, from its beginnings in classic and hard rock through to contemporary forms. The aesthetics of the genre will also be discussed, and some focus will be given to some of the more prominent movements within the genre, such as the NWoBHM (new wave of british heavy metal), death metal, and black metal.
Survey of heavy metal music history with discussions about technology, musicology and social culture. Optional engagement with local Irish metal culture—concerts, record store visits.
Lecture 1–4: Introduction/Proto metal (Sir Lord Baltimore, Deep Purple, Thin Lizzy, AC DC). The roots of heavy metal, the NWoBHM (Judas Priest, Iron Maiden, Motörhead, Venom). The technology of heavy metal. Euro metal and hair/glam/pop metal (Nitro, Cinderella, Mötley Crüe, Van Halen, Bon Jovi). Thrash and the European influence: The Big 4 (Metallica, Slayer, Anthrax, Megadeth).
Lecture 5–8: Death metal (zines, cassette trading), crossover (Bad Brains, DRI, Suicidal Tendencies, Body Count, Biohazard), doom metal, black metal, (Varg, Euronymous, Reverorum ib Malacht).
Lecture 9–12 – Folk metal, crust metal, nu-metal, metalcore, symphonic metal, women in metal, industrial metal.
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | MUU33024 Cultural Perspectives: Race, Class and Gender in Popular Music |
5 ECTs | Sem 2 | None | Presentation: 15 minute presentation (powerpoint and audio) evaluating the social, cultural, and political context of an important and influential performer. Choose an artist from any period and examine their relationship to the cultural and social framework of their era with reference to an important or influential album. Analyse and evaluate your chosen artist in relation to their impact on music and popular culture and their relationship to the themes of this module (class, race, gender, world events, technology, religion, etc.) as they are relevant. Students should liaise with the lecturer about their chosen topic before commencing any work. Presentations will take place in the second half of term at the end of each class. Essay: 1500 word report to accompany the presentation on the design and development of the task which should refer to the evidence base and demonstrate critical thinking throughout. An individual report on the background research and development carried out for the presentation. This should address the following: 1. Describe why you chose this topic and what its key aspects are. 2. Explain how you developed this presentation including resources and materials used. 3. Discuss the design and development of the presentation from an analytical perspective and reflect upon the experience, i.e. barriers/challenges to group work, difficulties in accessing resources, etc
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2 Hours per week. 66 Hours Independent study (course prep and review of Materials) 44 Hours (Prep for assessment, incl. completion of assessment) | Dr Elis Czerniak |
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Description
On successful completion of this module, students should be able to:
LO1. Examine significant moments in the evolution of popular music genres by employing established methods of critical theory.
LO2. Analyse important individuals and their work within each genre according to the factors that have made them longstanding writers and performers.
LO3. Critically discuss the cultural impact of musical originality and creativity in the context of social and economic history.
A cultural history of popular music from 1900 to modern times, this module examines the social and political conditions that influenced the development of genres in popular music by evaluating key releases from influential artists. Students will analyse the growth of popular music from the turn of the twentieth century onwards. They will study the development of successive genres from delta blues and early jazz onwards, exploring the dynamic relationship between popular music, popular culture, and social change. The module also provides an introduction to critical approaches to culture and popular music such as postmodernism, postcolonialism, feminism, and Marxian analysis.
Teaching and learning methods will be a combination of lectures/slides as well as audio and visual examples. These will be used as a means to initiate collaborative and significant learning practices such as: critical/creative practical thinking, academic reasoning, evaluation and synthesis, as well as connecting ideas to realms of life.
| Module Code & Name | ECTs credits | Duration and semester | Prerequisite Subjects | Assessment | Contact Hours | Contact Details | MUU34003 Blues |
5 ECTs | Hilary Term/Semester 2 | N/A | 1000-1500 short essay (30%), 2000-word essay (60%), Attendance and Participation (10%). | 11 hours lectures; 11 hours seminars = 22 Hours | General queries = Assist. Prof. Evangelia Rigaki
Queries about this module specifically = Dr Jonathan Hodgers |
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Description
This module traces the blues from its birth in the late 19th century to the present day. Sweeping through America in the early 1910s, the genre was a pervasive influence on the popular mainstream until the 1970s and continues to be played and heard today. The module draws on social history, cultural studies, and musicology.
Topics will include the blues’ musical characteristics, its verbal lexicon, its performance standards, its ties with African-American culture, as well as its intersection with other popular music genres. Alongside a historical approach, lectures will also consider some of the blues’ regional variants (Chicago, Mississippi, Memphis), along with its most significant artists, such as pre-eminent pre-war performers like Robert Johnson and Bessie Smith, stars of the electric era like Muddy Waters and Howlin’ Wolf, and the genre’s most notable acolytes in the 60s and beyond.
On successful completion of this module, students should be able to:
• relate the genre to broader American as well as African culture;
• display a knowledge of the genre’s musical and lyrical form;
• discuss key performers and their major works;
• reflect on the blues’ historiographic debates.