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What Is Visual Culture? graphic The first of two core courses on the ICR's MA in Visual Culture, 'What Is Visual Culture?' introduces students to critical and theoretical debates, past and present, which have significantly informed thinking on visual culture. It focusses on key thinkers and texts which, while not necessarily concerned primarily with visual culture, are influential in debates in the area; and considers writings on the intellectual and social histories of visual cultures, visual practices, the spectacle, and the gaze. Students have the opportunity to read writings by Barthes, Bazin, Benjamin, Berger, Debord, Foucault, Freud, Lacan, and Metz.
Visual Cultures graphic Building on the foundations laid in 'What Is Visual Culture?', this course offers case studies in ways of seeing across a range of nineteenth-, twentieth- and twentyfirst-century visual cultures. Through case studies of particular instances and practices of visual culture, 'Visual Cultures' brings together theoretical and methodological debates around such issues as modernity, postmodernity, spectatorship, space and virtuality.
Hollywood and the Melodramatic Imagination graphic This MA optional course identifies the varied forms taken by melodrama in Hollywood cinema from the 1910s to the 1950s; explores key theoretical debates around 'melodramatic' film texts and their interpretation and reception; and links theoretical debate with critically informed close analysis of 'melodramatic' film texts, among them D.W. Griffith's Broken Blossoms (1919), Hitchcock's Rebecca (1940), and Minnelli's Home from the Hill (1959).
Planning and Conducting a Research Project graphic This MA workshop rehearses the steps involved in planning and conducting a research project in cultural studies or visual culture, and prepares students for writing their MA dissertation proposals.
Family Photographs and Memory graphic Taking participants’ own pictures as a starting point, this occasional workshop--which can be run with classes and groups outside a university setting--explores the significance of family photographs for those who make them or keep them. Students practice techniques of image analysis, enhancing their awareness of how images make meanings and how personal photographs can engage the deepest feelings. The workshop also offers the opportunity of exploring continuities and discontinuities between personal memory and collective forms of remembering.
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