Bachelor of Arts (BA)

BA Film Studies and Middle Eastern Studies

Study film and media alongside Middle Eastern language and culture.
  • Duration: 3 years
  • Year of entry: 2025
  • UCAS course code: PT55 / Institution code: M20

Full entry requirementsHow to apply

Fees and funding

Fees

Tuition fees for home students commencing their studies in September 2025 will be £9,535 per annum (subject to Parliamentary approval). Tuition fees for international students will be £26,500 per annum. For general information please see the undergraduate finance pages.

Policy on additional costs

All students should normally be able to complete their programme of study without incurring additional study costs over and above the tuition fee for that programme. Any unavoidable additional compulsory costs totalling more than 1% of the annual home undergraduate fee per annum, regardless of whether the programme in question is undergraduate or postgraduate taught, will be made clear to you at the point of application. Further information can be found in the University's Policy on additional costs incurred by students on undergraduate and postgraduate taught programmes (PDF document, 91KB).

Scholarships/sponsorships

Scholarships and bursaries are available to eligible Home/EU students, this is in addition to the government package of maintenance grants.

Course unit details:
Falstaff and Gandalf go to the Movies: Adapting Fantastic Texts to Screen

Course unit fact file
Unit code DRAM31042
Credit rating 20
Unit level Level 3
Teaching period(s) Semester 2
Available as a free choice unit? No

Overview

The fantastic has been described as the dominant mode of fictional expression in the last century but remains one of the most maligned and misunderstood. Why is fantasy so prevalent in our lives and why are we so suspicious of it? Why, as Ursula Le Guin asks, are we afraid of dragons?

This course explores how filmmakers have represented the mythic and fantastic. Our emphasis is on adaptation in various genres (legends, fairy tales, gothic horror, science fiction and epic fantasy) and students will be encouraged to adapt their choice of text in their final coursework. As well as addressing the audio-visual possibilities of film in realising the fantastic, we will consider relevant theoretical concepts (particularly orientalism, the carnivalesque, temporality and the work of Tolkien and Ernst Bloch). The course closes by addressing the value and socio-political function of the fantastic in our lives and the dangers and benefits of escapism.
 

 

Pre/co-requisites

Pre-requisite units:     Any L1 Film study course unit AND any L2 core Theatre or Film course unit: Theatres of Modernity OR Screen, Culture and Society

 

 

Aims

  • To explore varying approaches to adapting fantasy-related and mythic texts to screen
     
  • To encourage students to apply an awareness of the necessary aesthetic strategies involved in adaptation to their own practical work
     
  • To develop an appreciation and critical understanding of fantasy as a mode of expression
     
  • To challenge the assumption that fantasy has no social or political relevancy by considering the socio-political application of fantasy

Knowledge and understanding

  • Identify and articulate the way in which filmmakers adapt a fantastic play, novel or story to film
     
  • Define the fantastic and discuss how it can be expressed visually and aurally
     
  • Demonstrate familiarity with several of the major fantasy-related genres (particularly Arabian Nights fantasies, Arthurian fantasies, fairy tales and science fiction)
     
  • Demonstrate familiarity with the audio-visual style and thematic interests of key filmmakers (particularly Welles, Kurosawa, Pasolini, Dash and Tarkovsky)
     
  • Show awareness of and be able to account for any social and historical factors that contribute to the adaptation of a particular text
     
  • Translate a critical awareness of the fantastic into individual research for seminars, essays and creative projects

Intellectual skills

  • Critically analyse and interrogate films and related sources (posters, trailers, reviews and industry documents)
     
  • Contextualise historically films and practitioners, and to draw on contextualisation to develop understanding
     
  • Critically evaluate a series of films, practitioners and genres in relation to key moments of socio-political change in relevant territories
     
  • Synthesise theoretical terms and concepts and apply these to analysis, argument and creative practice

Practical skills

  • Research academic and non-academic materials, and evaluate the effectiveness of these materials as supporting evidence for individual essays, seminar presentations and creative projects
     
  • Plan, undertake and evaluate independent critical and creative work
    Use relevant software to collect, compile and present audio-visual material for presentations
     
  • Communicate research material both verbally, audio-visually and in writing
    Enhance relevant practical skills depending on the nature of the creative project undertaken (e.g. directing, digital editing, screenwriting, art design, sound design etc)

Transferable skills and personal qualities

  • Demonstrate an advanced ability to self-manage learning – to ask questions independently, identify relevant research material, take initiative, make decisions, and develop independent and sustained responses to complex problems, working successfully to a deadline
     
  • Demonstrate an advanced ability to develop sustained arguments and present these effectively in written, oral and audio-visual form

Employability skills

Group/team working
Working productively as part of a group and independently in learning environments that present complex and unpredictable challenges
Project management
Ability to manage, complete and evaluate a project effectively
Problem solving
Advanced critical thinking, problem-solving and planning skills Advanced critical thinking, problem-solving and planning skills - Advanced ability to exercise initiative and personal responsibility - Working productively as part of a group and independently in learning environments that present complex and unpredictable challenges - Ability to effectively adapt self-presentation to different audiences/contexts, especially when communicating complex topics - Ability to manage, complete and evaluate a project effectively
Other
Ability to effectively adapt self-presentation to different audiences/contexts, especially when communicating complex topics

Assessment methods

Assessment TaskFormative or SummativeWeighting
Seminar PresentationFormative0%
EssaySummative40%
Final Essay or Practical Project (short film, screenplay, storyboard, sound design etc. with short written report on the rationale for the project).Summative60%
Consultation on Essay and Practical ProjectFormative0%

 

 

Feedback methods

Feedback Method

Formative or Summative

Seminar Presentation – oral

Formative

Essay – written

Summative

Final Essay or Practical Project – written

Summative

Consultation – oral

Formative

 

 

Recommended reading

  • Attebery, Brian. 1992. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press.
  • Butler, David. 2009. Fantasy Cinema: Impossible Worlds on Screen. London: Wallflower.
  • Furby, Jacqueline annd Hines, Claire. 2012. Fantasy. Abingdon and New York: Routledge.
  • Lim, Bliss Cua. 2009. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press.
  • Thomas, Ebony Elizabeth. 2019. The Dark Fantastic: Race and the Imagination from Harry Potter to The Hunger Games. New York: New York University Press.
  • Todorov, Tzvetan. 1975. The Fantastic: A Structural Approach to a Literary Genre. Ithaca, New York: Cornell University Press.
  • Walters, James. 2011. Fantasy Film: A Critical Introduction. Oxford and New York: Berg.
  • Zipes, Jack. 2002. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Lexington: University of Kentucky Press.
  • Zipes, Jack. 2011. The Enchanted Screen: The Unknown History of Fairy-Tale Films. New York: Routledge. 

Study hours

Scheduled activity hours
Lectures 33
Supervised time in studio/wksp 33
Independent study hours
Independent study 134

Teaching staff

Staff member Role
David Butler Unit coordinator

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