Film & Media Studies

This course provides a panoramic view of the relationship between the media and modern Brazilian popular music, from the 1950s to the present day. Topics include Bossa Nova, Tropicália, Jovem Guarda, song festivals, national rock, and other important MPB movements.

Globalization and Japan is usually connected with the oft researched policy of “Cool Japan, ” which emphasizes popular culture, particularly anime and manga. Courses on anime and manga tend to focus on an analysis of the object, whether it is a particular anime or manga title. This course aims to fill the gap, by shifting the focus to the industries as popular culture cannot exist without the complex structures of business, form and application of anime and manga.

The course aims: 

1. To introduce the student to the “behind-the-scenes” aspects of anime and manga.
2. To introduce the student to research on anime and manga from a case study.
3. To engage students in critical approaches towards familiar topics.
4. To encourage students in think critically through their own projects of a chosen case study.

This course focuses on the emergence of the literary tale, both the scholarly and popular aspects, and the way in which its great models, particularly Giovanni Boccaccio’s THE DECAMERON and Giambattista Basile’s STRAPAROLA, depict the oral origins of the genre. As they relate to a corpus of classic literary tales (Perrault, Grimm), the course studies contemporary cinematic adaptations to examine the plasticity of the genre, including the emphasis of fairy tale in popular culture. It examines how these stories are appropriated and adapted to fit the current social and political discourse and discusses whether these adaptations are part of scholarly or popular culture. Films studied include Pier Paolo Pasolini’s LE DECAMERON (1971), Jacques Demy’s PEAU D’ANE (1970), and Pablo Berger’s BLANCANIEVES (2012).

This course helps students to better appreciate and understand the contemporary cultural and socio-political importance of film through three central routes. Firstly, a series of nine case studies of important international films released in British cinemas over the past five years illustrates and instantiates a diverse range of key aesthetic, ideological, and industrial contexts that 21st century filmmakers both contribute to and challenge through the work they produce. Secondly, the weekly case studies are drawn from a range of cinematic traditions, including animation, live-action fiction, and documentary filmmaking. Thirdly, and despite their diversity, each of the weekly case studies is taught in such a way as to equip students with some of the foundational critical skills and forms of knowledge associated with the academic study of film. These include an understanding of the relationship between authorial intent, audio-visual technique, and audience experience; an ability to locate and critique individual films within appropriate comparative contexts, such as directorial oeuvre and traditions of film genre; and an informed understanding of the varied range of critical traditions and methodologies that scholars past and present have brought to the study of cinema as both social institution and art form. This course is taught exclusively by filmmakers and film critics from Edinburgh College of Art of Art, School of Design.

Why do people believe in conspiracy theories, hold on to misinformed beliefs even in the face of mounting evidence to the contrary, and/or spread rumors that may have little basis in fact? This course explores case studies of the causes, consequences, and tenacity of misinformation. Students able to think about understanding such situations and possible approaches to combat them

This course provides students with an overview of the major developments in the depiction of sport in film. Considering fiction, documentary, and newsreels, the course explore the diverse ways different cultures have depicted sport in film.

This course examines the media industries in Aotearoa New Zealand through a series of case studies, including television, radio, newspapers, telecommunications, and film. These are discussed in terms of how ownership, regulation, funding/revenue, cultural norms and technological convergence affect media practices. It considers how the NZ media sector is influenced by global media markets, how media value chains are changing in response to new media and evolving audience demands, and the public policy issues these raise (e.g. cultural identity, democratic engagement and Maori representation).