Film and Television Studies and English BA (Hons)

Most people take reading for granted, but active, well-informed, interpretative and critical reading is a highly advanced skill. And with the rise of AI and disinformation, it is one of the most important skills in the world today. This module focuses on the key skills of critical and close reading, as central to the study of literature, but also more widely to allow you to sort out truth from troll. The central aim of this module is to enhance and develop students’ engagement with primary and secondary texts as central to your critical thinking abilities. Students will learn how to analyse and interpret complex texts in various genres, making use of the established techniques and approaches of the discipline. They will engage with the idea of critical reading as a culturally-informed act that must be learned and developed. Teaching is shaped around the goal of developing students’ “reading resilience”, that is, the ability to read, discuss, and write about, varied and challenging texts with confidence. Through discussion, group workshops, lectures and individual tasks, students will become proficient in working with literary and rhetorical texts, learning skills that are essential throughout the degree.

With the rise of social media and now generative AI, the core skills of our degree, reading and writing, have come under fire. Yet just as reading is not about passive reception of information, but rather critical engagement with what you have read, so writing is more than simply following a blueprint. Writing, on our course, is a form of thinking, it is where the critical faculties are tested and developed, and importantly, it is a form of human-centred creativity that the world desperately needs.

The purpose of this module is to enable English students alongside Creative Writers to develop a grounding in effective writing practices and core competencies of textual production. Students will develop an understanding of the different stages of textual production, from prewriting, research, planning and outlining, to drafting, feedback and editing, polishing and submission, as well as an understanding of core writing mechanics. This module will enable students to explore and practice differing conventions of textual production across academic disciplines and in the creative industries. Its focus ranges from non-fiction modes such as the academic essay, critical and reflective writing, to screenplays and fiction manuscripts.  Any machine in the future will be able to put words together in some form of narrative, but this module trains you to become writers, with critical minds and creative practices, which is a very different thing.

Brunel campus is a global majority campus with over 150 different countries represented and well over 150 different languages spoken. It is located in West London, one of the most culturally diverse places on earth, and is just down the road from Heathrow airport. Since its inception, postcolonial studies and diversity in general have always been at the forefront of our programs. This truly innovative module aims to introduce students to the study of World Literature, presenting key critical approaches and engaging with texts from contrasting cultural locations. Students will learn about rich and varied world literary traditions and forms; acquire theoretical perspectives; build a world literary critical vocabulary; engage in debates about the meaning and role of world literature and reflect on creative practice and literary production in world contexts.

Brunel is proud of its West London location and celebrates being a campus university in one of the most exciting cultural capitals in the world today. London is defined by its modernity, its complex history, its challenges, its diversity and, of course, by its global centrality. This module aims to introduce students to the study of the literature of London, introducing key critical approaches and engaging with texts from a range of cultural backgrounds. Students will learn about London’s rich and varied literary traditions and forms; acquire theoretical perspectives; build a literary critical vocabulary; engage in debates about the meaning and role of London in literature; and reflect on creative practice and literary production in relation to London’s diverse past and present.

With the central aim of developing your creative and technical skills, this module will introduce you to the vocabulary, concepts and equipment needed in film production. You will work collaboratively with your peers to train with our technical and academic staff as well as engage in all aspects of storytelling. This is where you begin your journey learning the conventions and practices of filmmaking with our industry standard equipment.

A production-based module, you will be able to explore the process of adaptation from a variety of sources to the screen. Developing your creative skills you will consider many forms of storytelling and character construction as well as developing your production filmmaking skills.

If you’re a fan of genre fiction – Detective, Gothic, Science Fiction, Fantasy, and all things in between – then this module is for you! Besides gaining an understanding some of the key thematic and formal conventions of these genres, and how these have changed over time and with respect to changing social and political contexts, you will get to grips with the critical public sphere that exists outside academic institutions. Beyond academia, there is a world of reviews, blogs, conventions, and festivals relating to books. Therefore, while this module will cover the academic study of genre fiction and require you to write a conventionally structured and referenced academic essay, it will also branch out to consider this wider context by looking at some reviews and debates from the public sphere and require you to write a review of your own.

Contemporary globalisation has brought us cheap food, cheap clothing, and cheap goods, including the smartphone, tablet, or laptop you are probably reading this on – but it has also brought tremendous inequality. In this module, you will look at a range of twenty-first century fiction originating from Africa, Asia, Latin America, the Middle East, and the Caribbean, to explore diverse experiences of inequality in an era of globalisation. You will interrogate a range of novels, stories, and poetry in light of theoretical concepts drawn from world-literary theory and materialist feminism, asking whether and how socially committed fiction can challenge the overlapping oppressions of contemporary times.

The nineteenth century was an era of innovation. Technological invention, scientific breakthrough, geographical discovery, imperial expansion, the abolition of slavery, the rise of the middle classes, the emergence of mass culture, and an ever-stronger push for women’s equality. Within this culture, the novel – as its name suggests, a literary genre founded on newness – came of age. Through the chronological study of a representative selection of five texts, the module will introduce the key generic elements of the nineteenth-century novel, and chart changes in their deployment over the course of the century. Particular attention will be paid to Realism and Gothic. In addition to narrative form, a range of social and cultural contexts will be suggested as a means of accounting for, and understanding, textual features. Stress will be placed throughout on close textual analysis.

Have you ever felt overwhelmed by everything that’s going on in the world? You are not alone! Written during the opening decades of the twentieth century, the texts we study on this module were processing a modern world that was changing rapidly and radically. There were new technologies and ideas, empires were in decline, religion was losing its hold, and established class and gender relations were disintegrating. Then the First World War happened, followed by revolutions, a global pandemic, economic depression, and the rise of fascism. Writers responded in different ways. Some, like TS Eliot, Virginia Woolf, and Katherine Mansfield, experimented with content and form, confronting topics that were formerly taboo or using language and structure that shattered convention. Others, including Daphne du Maurier, Dorothy L Sayers, and Christopher Isherwood, used more ‘realist’ styles to work through their anxieties and concerns. Examining novels, short stories, poetry, and experimental artistic manifestos – by these writers and more, and from diverse perspectives – we will explore a modern world in crisis.

The political events of the late eighteenth century – the American War of Independence, French Revolution, and Napoleonic wars – dramatically changed lives, ideas, and aesthetics in Britain. From the mid 1770s to the mid 1820s, the period we now call Romanticism signalled profound changes in the form and content of literature. Working in a range of genres, including the novel, pamphlets, poetry, and philosophical, satirical, and travel writing, Romantic writers responded to a set of urgent, ethical, aesthetic, and environmental changes. In the module we consider the ‘first generation’ (Wordsworth, Coleridge, William Blake) and ‘second generation’ Romantics (Shelley, Byron, and Keats), and important political writers such as Edmund Burke, Thomas Paine, Mary Wollstonecraft, and William Godwin. Alongside these now-canonical names we read a diverse range of women and Black writers who contributed just as significantly to key Romantic debates: Anna Aikin, Anna Laetitia Barbauld, Ottobah Cugoano, Ouladah Equiano, Hannah More, Ann Radcliffe, Mary Robinson, Ignatius Sancho, Mary Shelley, Helen Maria Williams, Dorothy Wordsworth, Phillis Wheatley, and Anne Yearsley

Shakespeare died over 600 years ago, but his works maintain their relevance, captivating readers and audiences worldwide. In this module, you will study Shakespeare at an advanced level, in greater depth, and with an emphasis on the types of study skills required for advanced critical work in the fields of ‘book history’ and ‘performance studies.’ Using advanced methods of analysis, you will explore early modern texts, both in their original contexts and in their subsequent manifestations in print. You will consider language, performance, and the visual layout of text – both in Shakespeare’s time and in the present day. Overall, you will gain an understanding and experience of the concept of the Shakespearean text as an artefact and art form, one constantly evolving through criticism, editorial intervention and performance

This module introduces students to a range of contemporary British and Irish fiction, developing knowledge of the variety and complexity of contemporary writing and its relation to social and cultural context. The module examines texts which employ a range of themes, forms, and styles. It asks what we mean by the term ‘contemporary’ and encourages analysis of the relationship between texts and the historical moments in which they are produced and consumed.

Postcolonial writing often comes out of difficult circumstances. Its writers sometimes risked everything to publish what they needed to say. These are the new pioneers of Literature in English, whose works would inspire and define the writings of the future. In this module, we get to grips with key concepts encountered in postcolonial studies, which have been developed to investigate phenomena including colonialism and resistance, multiculturalism and globalization, racism, and Islamophobia. Using these, we will explore works by important and fascinating writers, whose texts show a variety of perspectives on colonialism and its legacies, including those of imperialists and the peoples they tried to suppress.

Genre is integral to mainstream filmmaking and beyond, and this module allows you to engage with critical frameworks and theory for understanding genre in an industrial, historical, and cultural context. A range of case studies are explored in detail allowing students to fully develop an understanding of genre film and television.

Interested in exploring the dynamic relationships that exist between different cinemas from different places? Then this option is for you. We will consider a range of world cinemas from the Global South, Asia and beyond. We will consider global art and alternative cinemas as well as more mainstream practices, considering films in terms of globalisation and the transnational, as well as the regional and the national.

Theoretical perspectives are at the core of this module, giving you the frameworks you will need to read and make meaning from film and television. We will consider feminism, structuralism and post-structuralism, Marxism among many other approaches we might take to understanding film and television.

Students will explore the role that film plays in advocacy, activism and social justice. The purpose of this module is to provide opportunities for students to create a portfolio of moving image work that has been developed to address social injustice. Students will explore the role of corporate, NGO, commercial and independent filmmaking, as well as looking at campaigns and distribution strategies. Students will work in a team and contribute to decision making processes.

Firstly, this module will allow you to explore the medium specificity of animation, the range of techniques available, as well as different industries and their development. We will then go on to teach you a range of animation production skills which will allow you to create your own short form animation in a style and medium of your choosing.

This module is largely led by feminist theory and queer theory where we examine a range of identities onscreen in relation to gender and sexuality. A number of case studies are examined across the module from historical examples to more contemporary work.

This module provides students with an in-depth examination of the horror genre across both film and television. Critical frameworks and theories relevant to the study of horror will be explored in depth across a range of case studies from historical and more contemporary contexts, as well as from a range of global contexts.

As part of our employability strand this module will give you a large range of guest talks from people that work across many different parts of the creative industries. Many of the guest speakers are Film@Brunel alumni. You will also have the opportunity to undertake your own work placement as part of this module allowing you to develop both your employability and networking skills.

Brunel English has been a leader in feminist theory since its formation over 25 years ago. The Women’s Movement is a defining modern social undertaking, a radical inheritance from the 19^th century, which has since redefined itself in multiple ways across numerous contexts. Focusing primarily on Second and Third Wave feminist movements, but also with a nod to First Wave influences and an emergent Fourth Wave, this module considers 20th century women’s writing in dialogue with relevant feminist theory. The Women’s Movement’s relationship to related gender/sexual equality programmes is offered as a central focus of class debate, especially in connection with LGBT perspectives and masculinity studies. Each week brings feminist critical thought into dialogue with literature, considering key concepts, including patriarchy, desire, and intersectionalism, and paying close attention to the interrelationship between literature and activism. An indicative reading list might include theorists such as Simone de Beauvoir, Betty Friedan, Patricia Hill Collins, Judith Butler, and Chandra Talpade Mohanty. Texts will address the range and diversity of feminisms as articulated across history.

Shaped by industrial revolution and radical social reform, the Victorian period was a time of enormous historical and literary change, introducing key values, institutions, and narratives still shaping modern Britain. Typical of Brunel’s innovative approach to more traditional period studies, this module examines three integral 19^th century ‘case studies’, each focused on a specific aspect of Victorian literature and culture: ‘Class, Conflict, Identity’, ‘Crime and Sensation’, and ‘Women and Society’. Its aims are to explore some of the ways in which Victorian literature might encode or challenge particular cultural assumptions; to analyse the relationships between literary forms and social contexts; and finally, to consider how the knowledge of the period may contribute to the interpretation of texts produced during this time.

Canonical studies of Early Modern literature often ignore the central role of ethnic and religious Otherness, situating texts primarily in relation to European cultures and geographies. Contesting this tendency, this module prioritises early modern interaction between Christians and Muslims, viewed from the perspective of both, specifically with a focus on English drama. It will explore post-Reformation England’s self-redefinition as a Christian nation and how it dealt with increased trade and negotiations with Muslim nations. Main topics of study include common literary tropes about Muslims in early modern literature; Christian and Islamic beliefs and fears in key texts; travel writing and interactions between West and East; prose propaganda and multicultural London; and writings in captivity. Central to all these critical discussions is the space of the Muslim world in Early Modern Literature and how this space shapes Early Modern culture in compound ways.

When it was first launched the Violence module caused quite a stir with its combination of contemporary critical theory and inspiration from the Finnish phenomenon-based learning, leading to a feature on the module in the TLS.  Violence, sadly, represents a shaping force in contemporary life, a site or mode of influence dominating government, society, culture, and the media. This module aims to develop students’ awareness of violence and its representations within modern culture, enlisting a variety of cultural materials, literary, visual, conceptual and technological. It asks a series of questions as regards violence and coercion as they surface in everyday lives, splitting its focus between conceptual understanding and textual readings. Part one, ‘Bioviolence and Biopolitics’, looks at biopolitical theories of power, force, violence, coercion and exclusion as introduced by philosophers such as Michel Foucault, Georgio Agamben, and Roberto Esposito. By contrast, part two, ‘Discourses of Coercion 2015-2020’, applies the theory to case studies taken from contemporary events, such as #Blacklivesmatter, Grenfell Tower, Coronavirus, Zombies and of course serial killers.

Focusing on Austen’s work in relation to adaptation, this module explores the forms of fiction she inherited as a young writer – the novels of Frances Burney and Ann Radcliffe – and how she adapted these models to her own work and concerns. It then considers how Austen was adapted in her turn, in a number of extremely popular films and series, to think about how the late eighteenth century ‘courtship’ and marriage plots continue to be reinvented through to the contemporary period. Texts may include: Radcliffe The Italian 1796, Austen Northanger Abbey (1803/ 1818), Frances Burney Evelina, or the History of a Young Lady’s Entrance into the World (1778), Austen Lady Susan (1794/1871), Austen Pride and Prejudice (1813), Robert Z. Leonard d. Pride and Prejudice (1940), Simon Langton d. Pride and Prejudice (1995), Sharon Maguire d. Bridget Jones’ Diary (2001), Chris Van Dusen’s Bridgerton Season 1 (2020).

Irish writing represents some of the most prominent literature of modern history, including such influential figures as Oscar Wilde, William Butler Yeats, James Joyce, Bram Stoker, and Samuel Beckett. Responding to this impressive legacy, this module examines Ireland’s rich literary tradition via key historical touchstones including the Easter Rising of 1916, the Troubles in Northern Ireland and the rise and fall of the Celtic Tiger. Theorised discussions of the meaning of Irish identity, intersections with colonialism, the Irish language and the worldwide diaspora will be framed via readings of poetry, novels, short stories, autobiography and drama. The module’s principle aims are 1) to undertake a critical survey of a wide range of Irish writing in the English language including depictions of Ireland in poetry, drama and prose genres; 2) to explore the key political events which led to Ireland’s independence and to consider the role of literature in this and beyond; and 3) to analyse the preconceptions, stereotypes and literary expectations of Irishness through identity debates and close reading

Brunel English has consistently been a national leader in contemporary literary studies for over two decases. We have a complex and increasingly global understanding of what contemporary literatures can and should mean. In this module we consider the period of the latter half of the 20th century starting with the Second World War which had a major impact on almost every aspect of 20^th century life, with radical implications for society, politics, economics, and culture. This module confronts this shifting global context with a focus on both established and experimental writers, developing students’ awareness of Post-War and Late Twentieth-Century Literatures via a focus on fiction’s negotiation with history. The module foregrounds key sensibilities of this period through an initial discussion of postwar life and art, then moves forward to explore the emergence of the ‘postmodern’ condition. It concludes by examining the experimental fiction of various leading British writers, also considering the influence of late-twentieth century theorists, such as Jean Baudrillard, Fredric Jameson, and Judith Butler.