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DAD283
From Page to Screen: Literature and Adaptation
Have you ever wondered what kinds of cultural and textual dialogues can be seen taking place between adaptations of Shakespearian plays, or contemporary re-writings/re-visionings of classic novels? Have you ever considered what the writer¿s role is in the adaptation of their material, or even simply their thoughts on the new work that bears their name in the phrase `adapted from¿ or `based on¿, and what do those terms mean? This module will consider adaptation in the diversity of its meanings, its forms, across genres, cross-media platforms and cross-cultural contexts. Among other things, we will look at the changing representation from literature to film, the relationship between `source¿ texts and their various adaptations. We will consider theories of the text, notions of `fidelity¿, the status of the `original¿ and the place of the author. Questions explored will include: What do we mean when we use terms such as `adaptation¿, `appropriation¿, `allusion¿, `fidelity¿, `intertextuality¿, `sampling¿ or `assemblage¿? How do we take account of multiple adaptations, or re-writings/re-visionings, of a particular text and interpret the additions, omissions and choices made by the adapter? In doing this we will necessarily consider the impact of the cultural contexts, the ideological circumstances and historical conditions of both the new `work¿ and its `source¿ matter, finally asking whether a valuable dialogue emerges as a result of the processes of adaptation and appropriation.
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DAD376
Imagining the Future: Science Fiction
According to Ray Bradbury, science fiction is `the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself.¿ In Doris Lessing¿s view `science fiction has become a dialect for our time¿, indicating its commonality and prevalence within our world. And J. G. Ballard sees the genre as a chronicle of our times, stating that: `Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.¿
Rather than `predicting the future¿, or allowing us to participate in pure escapism, the best examples of the genre have arguably always encouraged us to reflect on the human condition, asking questions about our relationship with technology and what it means to be human. Ultimately, the genre allows us to engage in the extrapolation of current situations, interrogate what we `know¿ and to speculate on, or re-imagine, our future.
The module explores the development of the form over the twentieth and twenty-first centuries taking a thematic approach with consideration given to the changing tastes and developments in the form.
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EN-270
Writing a Short Film
This module aims to introduce students to the practice of writing scripts for short films. Developing their writing skills within the parameters of short narrative, the course will also encourage students to explore and develop dialogue and character skills. Through a combination of theory and practical exercises, students will develop a 15-minute film script which demonstrates their skills of character, story, genre, formatting, dialogue, and industry appeal. The module will also look at the very different roles of the writer verses the director, the relationship between audiences and short film, and will explore current developments in both creative and industrial contexts. The module also aims to offer practical help in how to pitch an idea, how to enter film festivals and how to further develop their own voice.
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EN-3026
Creative Writing Personal Project
Students taking this module must submit a portfolio of creative writing of between 7-8,000 words in any genre, subject to Departmental approval. The Personal Project is an independent study module for which each student will receive 5 hours of individual or group supervision. Supervisions will take place at regular intervals with set targets, and will primarily involve feedback on the style and structure of the submission.
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EN-3055
Graphic Novel
What are graphic novels, and how do they relate to their component terms, ¿graphic¿ and ¿novel¿? How do we read graphic novels? What are their antecedents, and how do contemporary works speak to the development of the form? Through an examination of two key texts, Bryan Talbot¿s Alice in Sunderland and Carol Swain¿s Gast, this module combines a focus on the literary and visual to equip students with the skills to analyse and understand how graphic novels signify, and how they explore and challenge a range of themes and ideas. In addition to an attention to form and the visual, students will apply critical and theoretical approaches to consider themes and concepts such as distinctions between ¿high¿ and ¿low¿ art, storytelling, identity, history and psycho-geography.
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EN-309
Further Creative Non Fiction
In this module we explore the different forms and challenges of writing Creative Non-fiction. We look at various kinds of narrative non-fiction, including, among others, life writing (biographical and autobiographical work), travel writing, the essay, and writing about the human and natural environment. We also examine the ways in which such work is published, disseminated and read. The focus will be on narrative ¿ or, to use the tagline of the publication Creative Nonfiction, `True stories, well told.¿ This is a workshop-based writing class. Each session includes writing exercises and discussion of examples of published writing, as well as discussion and group feedback on students¿ work in progress.
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EN-M83
Screenwriting
This module develops advanced skills in writing for the screen, with an emphasis on both short- and long-form narrative forms for film and television. Through intensive workshops and critical analysis of screenplays, students will refine their ability to generate and articulate original ideas, craft compelling characters, and shape narrative through dialogue, structure, genre, and tone.
The module integrates practical creative work with theoretical perspectives on screenwriting, enabling students to situate their practice within wider artistic, cultural, and industrial contexts. The module culminates in the development of a professionally formatted script and accompanying proposal materials, equipping students with the creative and presentational skills required for progression into professional practice or further research.
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ENC1101
Fundamentals of Creative Writing I
To begin at the beginning¿ and continue the overuse of Dylan Thomas¿s opening to Under Milk Wood, this introductory course focuses on three fundamentals of beginning writing: observation, imagination, and presentation. Writers must first be good observers of the world if we¿re to create writing that¿s authentic. Imagination enables writers to manipulate the material we¿ve observed and understanding presentation, finally, ensures a writer knows what vehicle is best for our writing. This module is taught through a weekly hour-long lecture and two-hour seminar. It begins exercising the skills of observation and imagination and introduces the presentation methods we¿ll later focus on: fiction, poetry, screenwriting, writing for the stage, and creative non fiction, offering insight into the fundamental composition of studied texts for students of literature and preparing our creative writing students for the next module and following two years of creative writing.
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ENC1102
Fundamentals of Creative Writing II
Fundamentals of Creative Writing II builds on the focus of the first of the creative writing fundamentals module by picking up where the first module left off: presentation. You¿ll take a nuanced look at presentation methods introduced in the first module particularly through the ways each deals with the storytelling fundamentals of idea, character, narrative, and style. You¿ll become better acquainted with the varied opportunities and limitations of each of the styles of writing introduced in the previous term by practising each through specific engagement with those fundamentals.
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ENMD00
Creative Writing Dissertation
The Creative Writing dissertation requires the creation of an extended, original piece of creative writing, defined and devised in discussion between supervisor and student. This can be fiction, poetry, stage play, screenplay, creative non-fiction, or other appropriate form of writing. The creative work must be accompanied by a critical reflection upon the student¿s own practice. The creative work can be a continuation of the student¿s work on the MA program or can represent a wholly new piece of work.
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VC-300
Film Production Management
This production management module has been designed to offer you an insight into the organisation and pre-production development needed to produce a short film. Learning from industry professionals, this module takes you through the various stages of production management, from the initial pitch to the finalised production folder. Students will learn how to schedule film shoots, create risk assessments, break down scripts and find funding opportunities.
