This module introduces students to a range of theories around film authorship and audience, exploring these ideas within a broader cultural context that includes literature, television, fan culture and video games. It invites students to apply their learning in practical and imaginative ways, through assessments that encourage diverse forms of creative writing, in addition to more traditional essays.
The module is divided into two halves, one focused on authorship and the second on audience; in turn, each teaching block falls into two distinct sections, each with a writing workshop where theoretical ideas are creatively explored.
Teaching Block 1 begins with an introduction to theories of authorship in cinema, and their origins in literature - the ‘camera-pen'. Students are led through the key ideas of the ‘politique des auteurs' as it evolves from the French New Wave in the 1950s - Bazin, Truffaut and Godard - via America, and the work of Andrew Sarris, to Britain in the late 1960s, with Robin Wood and Peter Wollen. The second half of the semester examines a contemporary director and invites students to apply the theories they have learned to this more recent case study, before introducing ‘the death of the author' (Barthes) and the ‘author-function' (Foucault). Foucault and Barthes' work is based in literature, so we apply these ideas first to film, then in turn to other cultural forms such as the television show-runner and video game creator. These ideas lead us towards a focus on audience interpretation, rather than authorial intention.
Teaching Block 2 opens with a survey of approaches to audience, from the Frankfurt School, World War Two propaganda and the ‘hypodermic' model through the ‘uses and gratifications' theories of the 1950s to the cultural studies of Stuart Hall and the Birmingham School. It then explores the study of fandom, from pioneering work in the 1990s (Henry Jenkins, Camille Bacon-Smith) to more recent studies of fan fiction, cosplay and vidding. We question whether fan culture celebrates or subverts dominant forms, and whether the mainstream adapts to appropriate fan labour. Writing workshops in both Teaching Blocks provide the opportunity for students to adapt a story into a script, demonstrating their knowledge of a specific director's authorial style; to develop a pitch for a new movie; to devise an audience study in the style of the 1940s, 1950s or 1960s approaches; and to apply auto-ethnography to their own fandom. Assessments are innovative and involve traditional essays, presentations, and creative scripts with critical commentaries, including the opportunity to submit video essays.
Delivery will be by lectures, seminars, screenings, workshops and personal tutorials, with the latter two offering opportunities for formative feedback. Screenings are part of an active, collaborative learning process, with the tutor present, and involve participatory group discussion.
The module will make use of the Virtual Learning Environment (VLE) Canvas for communication and dissemination of information between students and staff as well as making online learning materials available to all.
All courses based in the Kingston School of Art offer students free access to the online video tutorial platform Lynda.com. This provides a wide range of subjects to choose from, many with downloadable exercise files, including software tutorials covering photography, graphics, web design, audio and music, CAD and Microsoft Office software, as well as courses on Business and Management skills. Some of these are embedded in the curriculum and offer additional self-paced learning, others may be taken at will by students wishing to broaden their employability skills in other areas.
| Definitive UNISTATS Category | Indicative Description | Hours |
|---|---|---|
| Scheduled learning and teaching | Scheduled learning and teaching | 88 |
| Guided independent study | 212 | |
| Total (number of credits x 10) | 300 | |
The assessment strategy for this module consists of an essay of 2,000 words, or creative script with 1,000 word commentary (A1), and an individual/group presentation or video essay, both accompanied by a 1,000 word commentary (A2).
Formative feedback will be given during the creative workshops in each Teaching Block, and as part of individual tutorials.
| Learning Outcome | Assessment Strategy |
|---|---|
| 1) Demonstrate knowledge of a range of theoretical and critical approaches that have shaped the study of authorship and audience across film and other media | A1, A2 |
| 2) Display understanding of the historical context in which these approaches developed, and be able to assess them critically | A1, A2 |
| 3) Show an understanding of, and respond critically to, a range of theoretical texts; | A1, A2 |
| 4) Apply the ideas contained in these approaches to their own analysis of film and media forms. | A1, A2 |
| Description of Assessment | Definitive UNISTATS Categories | Percentage |
|---|---|---|
| Group presentation with commentary (1,000 words) | Coursework | 30% |
| Essay (2,000 words) or practical piece with commentary (1,000 words) | Coursework | 70% |
| Total (to equal 100%) | 100% | |
It is NOT a requirement that any element of assessment is passed separately in order to achieve an overall pass for the module.
Barthes, R. (1993 [1977]) trans Heath. S (ed. and trans.) 'The Death of the Author', in Image Music Text. London: Fontana Press
Brooker, W. and Jermyn, D. (eds.) (2003) The Audience Studies Reader. London: Routledge.
Cook, P. and Bernink, M. (eds.) (1999) 'The Auteur Theory' and 'The Politique Des Auteurs', in The Cinema Book. London: BFI.
Gray, J., Harrington, C. L. and Sandvoss, C. (eds.) (2017) Fandom: Identities and Communities in a Mediated World
Jenkins, H. (2012 [1992]) Textual Poachers. London: Routledge.
Sarris, A. (1996 [1968]) The American Cinema: Directors and Directions 1929-1968. USA: Da Capo Press
Wollen, P. (2013 [1969]) Signs and Meaning in the Cinema. London: BFI