Film & Media Studies

This course explored and analyzes major institutions, actors, and trends in contemporary French and European Media and attempts to situate them in the larger contexts of “unifying” Europe and “globalized” world-media-scene. Students examine the operational schemes, performances, and internal decisional and power structures of different branches of French media: print national & regional press, specialized magazines, the publishing industry, advertising, radio, television, and the Internet. The course attempts a specific analysis regarding the international and French implications of the growing potential of social networks and “New Media.” Students review aspects of the growing confusion –both in terms of competition and compatibility—between “new” and “old” media and their political, social, and cultural impacts. In the domain of social and political presence students study and question practices of newsgathering, deontological principles and constraints, media performance under pressure of time, context, profit-making-structures, politics, violence, ethics, and ideologies. The course examines forms and styles of “information,” editorial policies and the variety of notions of “Democratic pluralism” and “freedom of expression” across the French and European Media landscapes. We will try to define, decode, and interpret distinctions between “news,” “commentary,” and “analysis” as they are being treated on the French and European media scenes. The course analyzes what all these may mean, encourage, cultivate, or block in terms of politics, society, culture, and media during “high times” of political turmoil, violent crisis, or social unrest. In the domain of entertainment and “services” offered by the Media, students examine different variations of publishing, broadcasting, and “accompanying” practices over the last 20-30 years. We may attempt a parallel analysis of possible interaction between these two domains (News/Entertainment), following political and ideological lines and some study of the dynamics of change along the ambitions, the strategies and the priorities of the media industries alongside “public demand.”

The first objective of the course is to explore and understand the storytelling epic, the symbolic imaginaries, and the ideological architectures of media events, both planned and unplanned. The specific focus on the recent "trauma television," the coverage of dramatic moments in human and medium history will provide students a further direct-experience based occasion to develop a critical and meaning creation oriented approach towards the medium. The final goal is to let students appreciate how television works, how it’s able to take a precise picture of constitutive parameters, problematic conjunctions, practices, moods, and contradictions of society, and why it still plays such a strategic role in social, cultural, and political issues in national and international contexts. The course main subject is essentially the relation of reciprocal influence between television and society. Built on a solid critical basis, mostly linked to cultural studies, sociology and journalism theories, the course is designed under the theoretical umbrella of the most important medium scholars, from McLuhan to Beaudrillard, and from Kellner to Dayan and Katz. The course discusses topics including television communication in general, its main theories, its complex spectrum of meanings, its storytelling processes, and its numerous social implications; the media events field, with ritual planned events (typically contests, conquests, coronations) and disruptive unplanned ones (disaster, terror, and war); and the "trauma television" of the last two years that is putting unexpected events in the television central stage as never before, even in some cases questioning their very notion – specifically the pandemic, the Capitol Hill riots, the various natural disasters caused by the climate change, and the Taliban takeover of Aghanistan – ground-breaking examples of the link between medium, contemporary history and our everyday life.

The course traces key critical approaches to film and television audiences. Starting with an exploration of 'apparatus theory' and understandings of the cinema-goer as 'spectator', classes then examine challenges to these models, and the emergence of scholarship around 'social' audiences and historically-contingent viewing practices. 

This course focuses on the most significant visual and artistic movements of the 20th and 21st centuries. Beginning prior to WWII, the course examines how new design emerged as its own discipline in the United States. It also explores topics including material culture, kitsch, and feminism in design as it traces the progress of global visual culture to the current state.

This practical and theoretical course explores debates about the value of creative arts in engaging with aspects of Scottish history. Focusing on recent theoretical perspectives on 'multiple relations with the past', the course involve students making creative outputs on an aspect of Scottish history (either individually or in groups) and reflecting on their own practice. The course is co-taught by staff from the School of Culture and Creative Arts and the School of Humanities, thereby seeking to develop new ways of learning and teaching through an interdisciplinary approach.

From the lenses of cultural studies and gender studies, this course examines how fiction throughout various eras has treated, whether directly or indirectly, questions of seduction, femininity, masculinity, and the meaning of virility. It explores the manner in which political and ideological disruptions have modified the figure of the seducer and vamp, and how this is presented in various cultural productions of stories, novels, poems, frescoes, paintings, opera, film, television series, and video games.