1
FILM AND TELEVISION STUDIES
POSTGRADUATE HANDBOOK
2014-2015
Table of Contents
Page Number
1. The Department: General information
- Location
- Members of Staff
- Communications
- Personal Tutors
- The PG Staff-Student Liaison Committee (SSLC)
- Monitoring Points
3
4
5
6
7
8
2. Resources
(i)
Departmental:
- Films and film projection
- DVD/video screenings
- Booking departmental rooms
- Image Capture Technology
- Health and Safety
10
10
10
11
12
(ii) Outside the department:
- Arts graduate area
- The Library
- The Video and DVD Library
- IT
- Cinema provision on campus
- The Language Centre
14
14
15
16
16
16
3. Curriculum
- MA in Film and Television Studies
- MA for Research in Film and Television Studies
- MA, MPhil, PhD by research
17
18
20
4. Teaching and Learning
- Attendance
- MA Modules
- Graduate Skills Programme
- MA for Research Reading and Viewing Programme
- The MA dissertation
- Work-in-Progress Presentations
- MPhil/PhD by Research
- The PhD advisor system
- Research Ethics
- Postgraduates undertaking Undergraduate Teaching
21
21
21
21
22
23
23
25
25
26
5. Assessment
- MA in Film and Television Studies
- MA for Research in Film and Television Studies
- MPhil, PhD by Research
27
28
29
2
6. The University: summary of useful services
- The Senior Tutor and Student Counsellors
- Student Careers and Skills
- Warwick Portfolio for Postgraduate Researchers
- The Students’ Union
- Sexual and Racial Harrassment
- The University Website
31
31
31
33
34
34
Appendix
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Dates of terms
Timetable and summary of significant dates for taught postgraduate
programmes
Guidelines for the writing of essays
MA dissertation form
Instructions on submitting MA dissertations
Scholarly presentation of assessed work
Guidelines to assessment criteria
Research graduate students’ research review process
Research Degree Ethics Review Document
Examination conventions
Sick certification for students
Authorisation of time spent away from University
Application for postgraduate funding for conference or travel
Cover still: Rudolf Valentino in Son of the Sheik. Courtesy BFI
The information in this pamphlet is as accurate and up-to date as we can make it.
Statements of departmental policy are made in good faith and are an honest attempt to
describe current practices, but they do not replace entries in the university regulations.
In the event of uncertainty regulations take precedence.
3
Welcome to the Department of Film and Television Studies at
Warwick University.
This postgraduate handbook contains the information you will need about the running
of the department and the resources provided to help you study. While there is too
much information to take in all at once, we do ask you to read the whole handbook
thoroughly and then to retain it for reference. The Director of Graduate Studies,
Professor Stephen Gundle (Dr Helen Wheatley in Spring Term), who is responsible for
the postgraduate programmes, will answer any queries you have, but do please check in
the handbook first. We revise the handbook annually and are always grateful for any
suggestions to improve it. Please give these to Ms Tracey McVey, the departmental
administrator. The handbook is intended to provide a reference book for your time at
Warwick, and to contribute to what we hope will be a stimulating, productive and
enjoyable period of study.
Dr Alastair Phillips
Head of Department, Film and Television Studies
September 2014
1. THE DEPARTMENT OF FILM AND
TELEVISION STUDIES
Location
The Film and Television Studies department is situated on the ground and first floors
of Millburn House. Staff offices, and most of the teaching and resources rooms, are
between rooms A0.12 and A0.28 on the ground floor and between rooms A1.17 and
A1.28 on the first floor of the building.
Room A1.07 is for the exclusive use of graduate students; access to this room is
via university card only.
Student pigeon holes are on the ground floor next to A0.13. The top row belongs
to postgraduate students.
N.B. The Postgraduate Space on A1.07 is shared with History of Art and Theatre
Studies students. Enjoy it but use it considerately. Please leave it clean; like the rest
of the Humanities Building, it is a no-smoking area. No food – and especially no hot
food - may be consumed in the room, although there is no objection to drinks. The room
is available for study-related uses by all postgraduate students. It is not a silent room
but please note that this does not mean that it is a social/conversational space. A coinoperated drinks machine is available in the main foyer of Millburn House.
The Departmental Office (A0.13)
The administrator, Ms Tracey McVey, in room A0.13, plays a key role in answering
4
queries, and the booking of rooms and keys (see section 2, Resources). Please note the
office hours displayed on the door. They are normally:
Monday 8.15am – 6.15pm
Tuesday 8.00am – 4.00pm
Wednesday 8.00am – 4.00pm
Thursday 8.15am – 6.15pm
Friday 8.00 am – 12.30pm
The Film Booking Office (A0.12)
16mm and 35mm prints of films for projection are delivered to and collected from this
office, which is staffed by Dr Adam Gallimore and Mrs Heather Hares. For
video/DVD screenings, the copy of the film must be collected from A0.12.
There are notice boards in the corridor outside the office (next to the pigeonholes),
with information of a general nature concerning events in the field of Film and
Television Studies (e.g. conferences). Watch general noticeboards, both in the
Common Room and in the corridor, for announcements of open lectures by visiting
speakers to the department or the university.
Members of Staff
Full-time Academic Staff:
Room No.
Dr Alastair Phillips (Head of Department)
A0.20
Mr José Arroyo (UG Admissions Tutor & Exams Secretary)
A1.17
Dr Louis Bayman
A0.15
Professor Charlotte Brunsdon
A1.18
Professor Stella Bruzzi
A1.19
Dr Jon Burrows (on research leave all year)
A1.20
Dr Catherine Constable (Director of Undergraduate Studies)
A1.21
Dr Ed Gallafent (Senior Tutor)
A1.22
Professor Stephen Gundle (on research leave Spring 2015)
A0.18
Dr James MacDowell
A0.17
Dr Rachel Moseley (on research leave Spring 2015)
A0.19
Dr Michael Pigott
A0.21
Dr Karl Schoonover (MA Admissions)
A0.23
Dr Helen Wheatley (on research leave Autumn 2014)
A0.22
Post-doctoral and Postgraduate Teaching Staff
Dr Paul Cuff
Ivan Girina
Nike Jung
Catherine Lester
Dr Joseph Oldham
Dr Santiago Oyarzabal
Patrick Pilkington
Isabel Rhodes
Mario Slugan
Charlotte Stevens
Dr Lauren Thompson
Dr Owen Weetch
Tel. No.
22434
22361
22791
22436
24645
50651
23662
28435
73041
73000
74318
50684
73871
A1.20
A1.09 (Spring)
A1.10
A1.08
A0.25
A1.09 (Autumn)
A1.08
A1.09 (Spring)
A1.09 (Autumn)
A1.10
A1.20
A0.25
5
Clerical Staff:
Ms Tracey McVey (Departmental Administrator)
A0.13
Mrs Heather Hares (Graduate & Admissions Secretary)
A0.12
Dr Adam Gallimore (Departmental Secretary & Librarian) A0.12
23511
22689
24696
Further information on staff, including publications and research interests, can be
found on the pages of the department’s website.
Academic staff display office hours on their doors. Any student may sign up to see a
staff member in office hours (not just tutees). In a case of urgency, consult the Chair
of Film and Television Studies or make an appointment through the departmental
secretary.
Communications
Communication is an extremely important element of your relation to the department
– we need reliable means of contacting you, and you need to know how and when to
contact us. There are four main methods of communication: Email, Noticeboards,
Pigeonholes, Office Hours.
Module Information
Noticeboards - module information and timetable are displayed on the graduate
noticeboard next to the pigeonholes outside A0.13. Notices of guest speakers,
conferences and grant and job possibilities are also displayed in A1.07
Student pigeonholes, outside the departmental office (A0.13) - post is delivered to
these each day - not just personal letters but University communications, for instance
from the library and from tutors. Get into the habit of checking your pigeonhole
regularly.
For matters affecting large groups, notices are posted on the Graduate Noticeboards
in A1.07 or notes are put in the student pigeonholes.
Email - we use email distribution lists to let you know of any matters that affect a
whole group, such as a late change to a screening time.
Contacting Tutors
The simplest way of seeing your tutors is in office hours, and all tutors regularly post
a signup list on the doors of their rooms indicating when they will be available. If you
have an unavoidable clash and therefore cannot make any of the times available you
should leave your tutor a note asking for an appointment and indicating how best to
contact you. In an emergency, consult the Director of Graduate Studies, or the Head
of the Department, or your personal tutor.
Staff pigeonholes: all tutors have pigeonholes in the departmental office where notes
can be left for them.
6
Email: individual tutors, and individual students, have various views as to whether
they wish to be contacted by email. This will need to be negotiated on a one-to-one
basis: ask your tutor about it, or see if there is an indication of their views posted on
their office door.
When emailing tutors bear in mind the following:
1.
2.
3.
Emails are sometimes printed out and placed in the student’s file. If you do
not want email to be filed, indicate this by putting the word “confidential” in
the subject box.
Please be respectful of staff time, and do not send copies of the same query by
email to several members of staff.
You may use email to inform the Director of Graduate Studies that you wish to
apply for an extension to an assessed essay deadline.
Email addresses: you will have a university email address (such as J.Smith
@warwick.ac.uk). Either read this regularly or arrange with IT services to have
emails forwarded to your other address.
Telephone calls: we will be asking you to fill in a form giving your telephone number
(and your mobile number). However, normally we would not expect to telephone you,
or for you to telephone us, except in an emergency.
Departmental Registration Form: you will fill in these forms at the beginning of
term. Please remember to keep the information updated; any change of detail is to be
given to the departmental secretary.
Mobile Phone Policy
It is very important that mobile phone use is not disruptive. In lectures, screenings,
seminars and tutorials mobiles must be switched off (NOT set to Silent). Sending
and reading text messages is not acceptable. Should your phone ring during a class,
you must switch it off immediately. If the call must be answered you should deal with
it outside the room.
Personal Tutors
For research degrees, your supervisor is your personal tutor but you should also feel
free to consult the Director of Graduate Studies. All MA students are assigned to a
personal tutor, with whom you should arrange a time to meet within the first few days.
Your personal tutor can be consulted on academic or personal matters, and may
represent you at a formal assembly (such as the board of examiners). He or she has
the right to give testimony on your behalf in disciplinary cases and is consulted by
both administrators and academic staff on matters that may concern you. You would
normally expect to use your personal tutor as a referee both while at University (for
housing and part-time work for instance) and after you leave. Note that your personal
tutor will not necessarily be the person who supervises your dissertation.
7
Postgraduate Staff-Student Liaison Committees (SSLC)
The PG Staff-Student Liaison Committee (SSLC) provides a forum for discussing
ideas and addressing problems; it forms the basis for students’ views to be
considered within the department and on senior University committees and it is a formal
means of gauging student opinion on academic matters. It should not be used to
discuss individual problems which can be dealt with by personal or course tutors. As
a rule, student representatives should seek the opinion of a significant number of
students on issues to be discussed. These vary greatly, but recurrent themes include:
syllabus, examinations and assessment, library provision, computing and welfare
issues.
It is the duty of SSLC MA and PhD representatives to canvass the opinion of the
group on issues raised with them by the student body, and students should make
issues of general concern known to their representatives in enough time for opinion
to be canvassed before meetings.
The Election of Representatives
In Week Three of the Autumn Term, the Director of Graduate Studies will hold a
short meeting, immediately after a class, during which nominations will be made, and
a ballot held, in order to determine MA SSLC representatives. MA for Research
students will be asked to attend this meeting. First year postgraduate Research (PhD)
students should use the first meeting of the Postgraduate Methods Reading Group
(see departmental website) to nominate and elect their representatives, and the result
should be communicated to the Director of Graduate Studies. Each subsequent year
group will be asked to nominate a representative. MA and Research degree
representatives are invited to departmental meetings to report on the discussions which
have taken place during SSLC meetings.
The Committee
As part of our ongoing commitment to forge links between our graduate students, the
MA and Research Degrees SSLCs have been combined to form one body. This body
meets at twice a term, on Wednesdays of Weeks 4 and 8 of each term, at 1.00 in
A1.24. The committee consists of two student representatives from the MA in Film
and Television Studies, one from the MA for Research in Film and Television Studies
and two student representatives from the research degrees, together with the Chair of
Film and Television Studies, the Director of Graduate Studies, Richard Perkins (our
subject librarian) and occasionally a Postgraduate Arts Faculty Representative and
Student Union representative. MA representatives should attend each of the Week 4
and Week 9 departmental meetings held during the year, while Research student
representatives should attend at least one, but may attend all. All students are welcome
to attend SSLC meetings if they wish to do so.
Duties and Responsibilities
A student representative acts as secretary, and another as chair of the meetings. This is
usually done in rotation, but these posts can be allocated for the entire year, if desired.
The Director of Graduate Studies convenes the first meeting of the year, after which
the SSLC chair does so. The agenda must be placed in advance on the SSLC
noticeboard in the corridor opposite the common room (A1.07) and the research
8
degrees representative should communicate any topics for discussion to the chair in
advance. Minutes are taken by the secretary and should record in a concise form those
present, what was discussed and what decisions were taken; they should be submitted
to the Director of Graduate Studies as soon as possible after the meeting and then
circulated to all SSLC members as well as posted on the SSLC noticeboard and
electronically on the Film and TV portal pages at:
http://www2.warwick.ac.uk/sunion/sslc/arts/filmtv and
http://www2.warwick.ac.uk/sunion/sslc/arts/filmtv/minutes0809/.
SSLC representatives may report back to the group at the earliest opportunity.
A booklet on SSLCs is available from the Students’ Union and the Academic Office.
The Students’ Union organises training sessions for SSLC representatives, usually
held on campus in Week 7 of the autumn term (at the weekend).
The Graduate School and the Board of Graduate Studies - The University-wide
Graduate School is governed by the Board of Graduate Studies (BOGS). Students are
represented on BOGS by members of the Union’s Postgraduate Committee.
Postgraduates are also represented in each faculty through the faculty Graduate
Studies Committee which reports to the Faculty Board and BOGS.
National Postgraduate Committee (NPC) - The Students’ Union is affiliated to the
NPC, which represents postgraduate issues on a national level. The NPC has
produced a series of guidelines for universities in areas such as the supervision of
research students and taught postgraduate courses, which are available from the
Students’ Union.
Monitoring Points
The department is required by the university to formally document all students’
attendance on, and engagement with, their degree courses by reporting to the Academic
office whether students have missed any ‘monitoring points’. Monitoring points relate
to a monitoring scheme which applies to each term of study. The monitoring scheme for
this department is as follows:
MA in Film & Television Studies/ MA for Research in Film & Television Studies
Autumn Term
(1) Attendance at departmental induction and training events.
(2) Attendance at initial meeting with personal tutor.
(3) Seminar attendance in week 3.
(4) Seminar attendance in week 5.
(5) Seminar attendance in week 7.
(6) Seminar attendance in week 9.
Spring Term
(7) Attendance at meeting with personal tutor by end of Week 3.
(8) Seminar attendance in week 5.
(9) Seminar attendance in week 9.
9
(10) Submission of 100% of assessed work.
Summer Term
(11) Attendance at meeting with personal tutor by end of Week 3.
(12) Attendance at dissertation supervision.
(13) Submission of 100% of assessed work.
(14) Submission of dissertation (Summer vacation).
MPhil/PhD in Film & Television Studies (Full-time)
(1) Attendance at initial meeting with personal tutor.
(2-11) Attendance at 10 supervisions spaced evenly throughout the year (at least 2
meetings per term). At least 6 supervisions must take place in person. For students
studying abroad, a reasonable proportion of the required contact may be via email or
phone.
(12) Submission of sample work for upgrade panel (1st years); submission of work for
progress review panel (subsequent years).
(13) Attendance at upgrade panel (1st years); attendance at progress review debriefing
(subsequent years).
(14) Attendance at viva voce examination (final year students).
MPhil/PhD in Film & Television Studies (Part-time)
(1) Attendance at initial meeting with personal tutor.
(2-7) Attendance at 6 supervisions throughout the year.
(8) Submission of sample work for upgrade panel (year two); submission of work for
progress review panel (subsequent alternate years).
(9) Attendance at upgrade panel (year two); attendance at progress review debriefing
(subsequent alternate years).
(10) Attendance at viva voce examination (final year students).
 If a student misses three monitoring points in one academic year the Academic
office will write a warning letter to them and they will be required to meet with
their personal tutor and/or the Director of Graduate Studies to discuss their
progress.
 If a student misses six monitoring points in one academic year the Academic
Office will require that they are referred to the university’s Continuation of
Registration Committee, as set out in University Regulation 36 – Governing
Student Registration, Attendance and Progress.
 If a student misses eight monitoring points in one academic year, the Academic
Registrar will invoke the process outlined in University Regulation 36 –
Governing Student Registration, Attendance and Progress.
 International students should be particularly aware of the consequences of
missing Monitoring Points: the Academic office is obliged to report to the Home
Office if any Tier 4 students have been found not to be engaging with and
attending their degree course. This will normally lead to the curtailment of their
visas.
10
2. RESOURCES
(i) Departmental:
Films and film projection
Films for module screenings (16mm, 35mm and digital formats are available) are hired
by Film and Television Studies and handled by our departmental projectionists, Frank
Gibson and Richard Allen. Frank and Richard are responsible celluloid and digital
projection.
DVD/Video screenings
Screenings are either digital or celluloid. We use off-air recordings on DVD or BluRay when prints are unavailable. .
A week by week list of all module screenings is posted on the notice board to the right
of the main entrance. You may attend screenings other than those prescribed for your
module, provided there are available seats in the room - which you should check with
the relevant tutor.
The department owns a collection of about 100 film prints, mostly on 16mm, which you
may borrow and screen on the premises. Please contact Dr Adam Gallimore, who has
the list.
Booking departmental rooms
You may also book rooms for individual or small group screenings. The procedure for
booking is described below.
Rooms A0.26, A1.25 and A1.27 are used for teaching, but may also be booked for
individual screening and/or viewing of film or video outside of teaching hours via the
departmental secretaries (on Mondays and Fridays A0.26 and A1.25 are centrally
timetabled and should be booked through Central Timetabling). Rooms A0.28 and
A1.28 can only be booked online through Central Timetabling
(http://www2.warwick.ac.uk/services/centraltimetabling). All of the teaching rooms
have video projection facilities for DVD and VHS. Rooms A0.26, A0.28, A1.25 and
A1.27 can also project Blu-Ray discs. Room A0.08 has a steenbeck table for 35mm
viewing and a 16mm projector. You can view DVD and VHS on a TV monitor in room
A0.09, and there is also equipment in this room which enables you to make copies of
such materials. Room A0.08 contains a PC with facilities for creating digital copies of
still and moving images from VHS and DVD sources, along with an A4 scanner.
Booking rooms and keys; looking after equipment and rooms
Locally-timetables rooms are booked, and keys issued, by the secretary during office
hours (see under ‘departmental office’). Please make sure you are familiar with the
system and plan your booking ahead. When you wish to book a room, check
availability in the folder in the office, and enter your name in the relevant slots.
Always enter the title of film(s) to be screened on the sheet when making the room
booking. Rooms for module screenings are already booked in the secretary’s records.
(See above for booking procedures concerning rooms A0.28 and A1.28)
11
Keys for weekend use should be signed out on Friday, and returned on Monday
morning. Otherwise KEYS MUST NOT BE RETAINED FOR LONGER THAN
24 HOURS.
You are personally responsible for keys issued against your signature. DO NOT hand
them to anyone else. Keys must be returned to the secretary during office hours, and
the earlier the better. Make sure that your return of a key is noted in the issue book by
signing your name.
VERY IMPORTANT: Never leave rooms for which you have been given a key
unoccupied and unlocked, even briefly; we know from experience that thieves and
vandals can work with amazing speed. Make sure that the video projectors (in
A1.25, A1.27, A0.26, A0.28 and A1.28) are turned off after use.
Please REPORT any damage to films or failure of equipment to the departmental office,
as soon as possible and in the most clearly detailed terms. Things do go wrong; it is not
necessarily anyone’s fault, but we need to know. Equally, report faulty video tapes or
DVDs to the library when returning them.
THERE IS ABSOLUTELY NO SMOKING INSIDE ANY UNIVERSITY BUILDING.
IF YOU DRINK COFFEE, TEA, OR WATER, PLEASE TIDY THE CUPS UP
AFTERWARDS. DO NOT PLACE LIQUIDS NEAR OR ON EQUIPMENT.
Image Capture Technology (ICT)
This computer unit enables the ‘capture’ and printing of single images from a video or
DVD, producing images that can be used to illustrate essays, seminar presentation
worksheets, etc. There will be training sessions in the autumn term, and you will also
be given detailed written instructions.
The unit is situated in room A0.08 and can be booked via the departmental office
during office hours.
The equipment is expensive, and careful preparation is required. Make sure you
practice on the machine before you use it with a view to illustrating a piece of work.
CODE OF PRACTICE FOR ICT MACHINES (Room A0.08)
1.
When booking the authoring machine for video/DVD capture the maximum
period that it may be reserved is two hours in any one day. At the end of the
booked period, use of equipment may be extended only if it has not been
reserved by another user.
2.
It is unacceptable to book the equipment and then fail to appear at that
time. If you need cancel you must ring and inform the office (Ext 23511).
Any such failure will be reported to the Head of Department, who will
require a written explanation.
3.
When leaving the room, users will ensure that:
a) the computer, monitor and speakers are switched off and the VCR/DVD
12
is turned off and unplugged;
b) the light is switched off and the door is locked.
4.
The room key must be returned to the departmental office immediately.
Health and Safety
Health and Safety matters within the university are overseen by the Safety and
Occupational Health Services. Their website
(http://www2.warwick.ac.uk/services/safety) provides a range of detailed information
about Health and Safety issues and procedures. In particular, the documents collected
under the title of “Safety in the University” (SITU) focus on such things as Health and
Safety Training, Risk Assessment, Disability issues, Health Promotion, Computer
Workstation/VDU set up, Occupational Health and Stress Management, Accident
Reporting etc. The Film and Television Studies department has a Health and Safety
policy (hard copy in the department office) and safety and risk assessments are carried
out on a regular basis throughout the year. Health and Safety concerns should be
raised at Department meetings and/or brought to the attention of the Department
Health and safety Officer.
Health and Safety Personnel
Department Health and Safety Officer: Tracey McVey
Film Studies First Aider: Tracey McVey
Further Advice
Director Safety and Occupational Health Services: Iain MacKirdy (Ext. 50824)
Health and Safety Adviser: TBC (Ext. 23208)
Senior Occupational Health Adviser: Jane Poole (Ext. 50082)
Fire Safety Officer: Chris Mayfield (Estates Ext. 22561)
Environmental Officer: TBA (Estates Ext. 23404)
Warwick University Health Centre (Ext. 24888)
Health and Safety Information
Health and Safety information can be found on the Safety and Occupational Health
Services website noted above.
1. If medical assistance is needed, university policy recommends the relevant
services be contacted by dialling 999. The Warwick University Health Centre
is available for consultation but is a GP practice, not a walk-in centre. Their
website gives you details of how to contact two out-of-hour surgeries (02476
674123 and 02476 228606) and provides maps for the closest Accident and
Emergency provision at University Hospital in Coventry and Warwick
Hospital.
2. Accidents in the department should be reported. Accident report forms are
held in the Film and Television Studies office.
In the case of Fire (See also SITU 22.4)
13
Fire extinguishers are located in the Department corridor rather than in the teaching
rooms, offices or projection booths. University policy in the event of fire is that you
should evacuate the building as quickly as possible. The following procedures are
recommended:
On discovering a fire: Raise the alarm by breaking the glass in the nearest Break
Glass Point which will be situated by main exit doors and along evacuation routes.
Report the fire by ringing 999.
On hearing a continuous ringing of the fire bells:
Stop what you are doing.
Leave immediately by the nearest fire exit. If you are in charge of a class, direct
students to the nearest available exit. Do not use lifts.
Do not stop to collect personal belongings.
Do not attempt to put out a fire.
After any evacuation, stand well clear of the building you have exited from. You may
be directed to specified fire assembly points by university staff, who will monitor and
attend any alarm in progress.
Do not re-enter the building until told it is safe to do so by the Fire Service or
university Security staff.
Personal Evacuation Plan
If there are reasons why evacuation from the building might present a significant
problem for you personally, you should consult the SOHS website about working out
a Personal Evacuation Plan and contact the department’s Health and Safety Officer.
Occupational Health
Information about Occupational Health provision and procedures for referral are to be
found on the SOHS website. In particular:
1. The issue of work related stress is dealt with on the SOHS website.
2.
Display Screen Equipment (VDU) work stations: See SITU Part 2 and SOHS
website. Using the guidance on the SOHS website, you should assess your
office workspace. Any Occupational Health problems you identify relating to
the use of IT technology should be reported to the Department Health and
Safety Officer so the situation can be investigated.
3.
Care should obviously be taken when using any of the high shelving in the
department’s offices/rooms. A kick stool is available under the pigeon holes
outside A0.13.
Any personal portable electrical equipment you bring into the department should be
regularly safety checked and the relevant recommendations from the SOHS website
14
(ii) Outside the Department
Arts Graduate Area
This is on the fourth floor of the Humanities Building extension on main campus. It
consists of a computer unit, faculty office, social space and lockers. You will have
received information about it at the graduate induction day. It is especially
valuable as a means to make contact with graduates in other, but often adjacent or
relevant, disciplines.
The Library
The library plays a crucial part in your studies. It is important that you become
familiar with it as soon as possible, in order to make the best possible use of its
resources throughout your three years.
The library arranges induction sessions for students at the beginning of the first term
in order to explain and demonstrate its facilities and to enable students to meet
members of the staff concerned with Film and Television Studies. The Film and
Television Studies Subject Specialist, Richard Perkins, works closely with the
department. If you need to consult him, phone on extension 22331, or email him at
r.perkins@warwick.ac.uk . Richard will also be present in the department every
Monday during term time, in room A0.08 to offer advice and answer queries about
library resources. You can email Richard in advance to book an appointment with
him; you can also try dropping-in without notice on the day. Richard also covers
Theatre and German. The Library Subject Specialist for English and French is Peter
Larkin.
First year students will be given an introduction to the library facilities in week 1
of the Autumn Term, Thursday 2nd October 2014, 12.00 – 12.45pm, Richard
Perkins will meet you in Library Reception. It is very important that you attend the
induction session and familiarise yourself early on with the book catalogue and
borrowing systems of the library, with the periodical holdings and with IT facilities,
especially film-related online databases. ‘Refresher’ sessions may be organised at later
dates, if necessary (see Richard Perkins).
The Short Loan section (on floor 1) is especially important. It contains books in
heavy demand and the video/DVD library.
Most film books are under classmarks PN3220 to PN3279, though some are to be
found under the classmarks of other disciplines, such as history, women’s studies,
sociology etc. Television books, in particular, can also be found on the 5th floor in
Sociology (HD8500 to HD 8599) and on the 3rd floor (PN1992 to PN1993). English
literature books are under classmark PR, French under classmark PQ, and German
under classmark PT.
The library holds two major film and television databases (Film Index International
and International Film Archive). These, as well as the library catalogue (Webcat) can
be accessed from terminals in, as well as outside, the library. It is therefore essential
that you acquire the IT skills to make full use of these resources which will help you
15
locate material for essay writing.
The Video/DVD Library
The video library, which consists of a substantial holding of VHS tapes and DVDs
available for educational purposes only, is located in the Short Loan Section of the
central campus library. The most frequently used titles are on the open shelves. The
rest are available within 20 minutes. You can also now reserve tapes and DVDs from
the store online on the webcat.
Opening Hours
Tapes/DVDs may be borrowed at the following times: Monday to Sunday 08.30-23.45.
Catalogue
The tapes/DVDs are catalogued on Webcat by title and director.
Borrowing and returning
Tapes/DVDs can be borrowed using the Self-Issue machines in Short Loan. They are
loaned overnight and must be returned the next morning (or on Monday morning for
tapes/DVDs borrowed from Friday to Sunday), by 11am. There are substantial fines
for the late return of tapes/DVDs, increasing with every hour that the tape/DVD is
overdue. The current rate is £1.00 per hour. Students may borrow 2 items
(tapes/DVDs) at any given time.
Reservations
Tapes/DVDs are bookable for a specific day via a link on the Webcat. Certain
tapes/DVDs are kept in store and are not available immediately, but can also be
requested in advance by clicking on the link in the catalogue entry. The best course is
to reserve in advance whenever possible. No tape/DVD in store is accessible after
3.00 pm, or at all on weekends.
Viewing
For legal reasons, tapes/DVDs of off-air recordings should not be taken off campus.
In addition, some tapes /DVDs required for film modules will be marked for reference
only and may not be taken out of the library. For this purpose, viewing stations have
been provided. Eight video/DVD players are situated on floor 1. Headphones must be
used, and are available from the main service desk on floor 1, in exchange for your
library card.
Important
The video library collection is a key educational resource and must be used as such.
Many tapes/DVDs are irreplaceable and we appeal to all users to treat them
accordingly. Please remember to rewind tapes before returning them. Please report any
faults on the tape to Short Loan staff at the time of return.
British Film Institute Library
Many books and journal articles, which are not in Warwick Library, can be found at
the BFI Library in London. This has recently moved to the BFI Southbank and is now
free to use. On the same site can be found the BFI Mediatheque which provides
extensive access to audio-visual material.
16
IT/Computer Facilities and Training for Students
It is assumed that graduate students will make full use of computers for word
processing, access to library databases and catalogue, email and other internet
services. There is an Arts Faculty Computing unit for graduate students in rooms 447
of the Humanities Building. You have access to the campus network via machines in
open access work areas. Printers are distributed over the campus.
A student handbook produced by IT Services will be available at the Film and
Television Studies induction session. Help will be available from the IT Services
Help Desk and Drop-In Centre, on floor 1 of the library. Students need to register as
users of the central computing service before attending sessions. Students can register
for an IT services account online – see the IT Services website for information on how
to do this at:
www2.warwick.ac.uk/services/its/servicessupport/accounts/register
Cinema Provision on Campus
The Arts Centre Cinema, on campus, shows on average six to eight different films a
week (with two different screenings every evening). Programmes sometimes include
films chosen to complement course screenings, and sometimes special study days (to
which members of the department contribute). Students may work as ushers in the
cinema (enquire with the Arts Centre).
The Students’ Union Film Society also shows a substantial programme of mainstream
and independent films. Only industry standard equipment is used, playing 35mm,
70mm and DCI compliant movies in L3 on the Science Concourse. For programme
information or to join the Film Society visit:
http://www.warwicksu.com/societies/filmsoc or email: info@filmsoc.warwick.ac.uk
The Language Centre
The language centre, on the ground floor of the Humanities Building, organises a large
programme of language classes throughout the year. These are fee paying, but
students’ rate is half price. In addition there are self-study facilities which include
video and audio tapes, CD-ROMs and satellite channels in a variety of languages.
These are free of charge to students (just bring your library card along). We
encourage you to make use of these facilities, for general purposes or to broaden your
background knowledge for particular courses, notably on non-English language
cinema.
17
3. CURRICULUM
All MA students and first year research students (unless they have already followed it
or its equivalent in their MA year) are expected to follow the faculty training
programme in research skills and methodology. Details of this are given out at the
Faculty Graduate Induction Day; copies may be obtained from the Arts Faculty
Graduate Office, room 448A Humanities Building.. The department also runs a
subject specific and generic skills training programme, which takes place mainly in
the Autumn term. The programme includes sessions on methods in Film and
Television Studies historical research, oral presentations, essay writing, use of
PowerPoint, applying for funding, etc. All MA and Research students are expected
to attend these sessions.
The core elements of the Film and Television Studies curricula are supported by a
programme of research seminars (departmental staff, PhD students, visiting speakers)
and the wide range of screenings for other courses and more generally on campus.
Details of these are given above under general information and resources. We regard
participation in this wider research culture, and not least the discussions that ensue
among departmental graduates, as very much part of the learning environment, and it
is one of the reasons that we strongly advise living locally.
MA in Film and Television Studies
There are two main elements:
- Taught modules of one term duration: four to be followed by each student. This is
supplemented by a skills programme in the Autumn term.
- Individual dissertation research on a topic selected in consultation with personal
tutors, and the Director of Graduate Studies. This is supported through one-to-one
tutorial supervision and work-in-progress presentations in the Summer term.
The course is designed and timetabled to move from intensive teaching in the
Autumn and Spring terms to intensive independent research and writing in the Summer
term.
Programme for 2014-2015
Autumn Term
Students take the core module and choose one of the two optional modules.
Core Module: Screen Cultures and Methods (Rachel Moseley, Stephen Gundle, Karl
Schoonover, James MacDowell)
Option:
Film Criticism, Film Style (Ed Gallafent)
Option:
Television History & Aesthetics (Rachel Moseley)
18
Spring Term
Students choose two of the three modules offered.
Option:
Option:
Option:
Documentary (Stella Bruzzi)
Journeys and Landscapes in Film (Alastair Phillips)
Film Philosophy (Catherine Constable)
Beginning of essay submission and dissertation supervision.
Attendance at PhD work-in-progress presentations.
Summer Term
Attendance at work-in-progress
presentations
Completion of essay submission
Dissertation supervision
Throughout the Year
Programme of research seminars (on average three per term)
MA for Research in Film and Television Studies
There are three main elements:
- Three taught modules from those offered in the Autumn and Spring Terms,
plus the skills programme.
- One independent study module, the topic for which which will be selected
in consultation with the Director of Graduate Studies and a supervisor appointed by
the DGS.
- Individual dissertation research on a topic selected in consultation with the personal
tutor and Director of Graduate Studies. This is supported through one-to-one tutorial
supervision and a programme of work-in-progress presentations in the summer
term.
Programme for 2013-2014
Autumn Term
EITHER
Film Criticism, Film Style (Ed Gallafent)
AND
Television History & Aesthetics (Rachel Moseley)
OR
One of the above modules and independent study module.
19
Spring Term
EITHER TWO of the following modules OR (if independent study module not taken in
Autumn Term) ONE of the following modules and Independent Study module.
Journeys and Landscape in Film and Television (Alastair Phillips and Helen
Wheatley)
Film Philosophy (Catherine Constable)
Documentary (Stella Bruzzi)
Summer Term
Attendance at work-in-progress
presentations
Completion of essay submission
Dissertation supervision
Throughout the Year
Programme of research seminars
(on average three per term)
Studying for the MA in Film and Television Studies on a Part-Time Basis
Occasionally, a student studies for the MA in Film and Television Studies on a parttime basis over two years instead of one. In such cases, the curriculum and timetable
are as follows:
Year One
The student takes one taught module in the Autumn Term (this is usually Screen
Cultures and Methods), and one taught module that is offered in the Spring Term. After
discussion with the Director of Graduate Studies, a suitable dissertation supervisor is
identified for the following year. The student and supervisor have one initial meeting
in the Summer Term, to discuss the shape of the project and to agree on preparatory
research for the summer vacation period. The student attends as many training
sessions, Graduate Research Seminars and student work-in-progress seminars as
possible during the first year.
Year Two
The student takes a further taught module in each of the Autumn and Spring
Terms, and continues, in consultation with their supervisor, to prepare for the
dissertation. The majority of work on the dissertation, however, is undertaken in the
Spring and Summer terms, and over the vacation, working to the same timetable as
full-time students. The student continues to participate in as many training sessions,
Graduate Research Seminars and student work in progress seminars as possible.
20
MA, MPhil and PhD by Research
The curriculum consists principally of one-to-one tutorials with your supervisor. You
may be advised, especially in your first year, to follow MA or even final year
undergraduate modules, where appropriate. You will be expected in your first year to
participate in the work-in-progress presentations (at the end of the spring term for
MPhil/PhDs and in the summer term for MAs), and to attend the research seminars,
throughout the year (on average three per term). The Department runs a ‘Methods’
Reading Group which will, in 2013-14 be convened by Dr Karl Schoonover. This is
normally timetabled on the same day as Departmental Research Seminars and all first
year PhD students must attend. Second year students are expected to attend and third
year students may attend. You are also expected to attend the Faculty Graduate
Training programme (normally Wednesday afternoons) – see separate handout for
details; you should make a point of discussing with your supervisor what specific
training needs you have, how they are to be met and if they have been met. You will
be asked to reflect on this in your Research Review Panel at the end of the first year.
21
4. TEACHING AND LEARNING
All postgraduate degrees in the department of Film and Television Studies have a
significant orientation towards individual research on a topic of the student’s choice
undertaken in consultation with a supervisor. The proportion of individual research
to taught modules increases through the degrees MA in Film and Television Studies
and MA for Research in Film and Television Studies, while the degrees of MA by
Research, MPhil and PhD are largely individual research.
While attendance on taught modules is required for MA students, attendance on at
least one module can be required of new MPhil/PhD students.
Attendance
The department is required to monitor student attendance and progression, in order to
offer appropriate academic and pastoral support. Taught postgraduate students
(MA/MA for Research) are required to attend all induction and training events,
teaching and work-in-progress sessions, as well as arranged meetings with personal
tutors and dissertation supervisors across the year. Attendance is recorded at teaching
sessions and unexplained absences reported to the Director of Graduate Studies.
Postgraduate research students (MA by Research, MPhil, PhD) are required to attend
all induction and training events, arranged supervisions, work-in-progress sessions,
the annual review panel and to submit work to annual review boards after year one.
Where a student is spending a period of their registration period studying abroad,
contact must be maintained with the Warwick supervisor on a regular basis via email
and/or phone. If a postgraduate student, taught or research, is persistently absent
without a reasonable excuse, they may be required to submit additional work (taught
students). Persistent absenteeism may lead to a requirement to withdraw from the
course of study, as set out in the university’s regulations.
MA Modules
Each MA module runs for a term and includes a programme of screenings, lectures
and small group seminars. Individual course tutors organise their teaching in
different ways at different points in the term. Some classes are scheduled on a
lecture/seminar pattern, others rely more on student small group work or film analysis
using Steenbecks. All modules schedule two screenings a week, usually of the same
film or television material, but occasionally of two different texts. In any case, you
are required to attend both screenings.
Graduate Skills Programme
There will be sessions during the Autumn term on the following:
Projection and Steenbeck, Oral Presentation and Powerpoint, Image Capture and
Downloading, Choosing and Organising a Dissertation, Doing a Literature Review,
Writing a PhD Proposal and Applying for Funding.
MA for Research Reading and Viewing Programme
Regular meetings are held with the tutor to whom you are assigned. Where
22
appropriate, students will also meet together to discuss their reading and viewing more
substantively and will report on these discussions at the meetings with the tutor.
The MA Dissertation
The MA dissertation is the central opportunity, on both the MA in Film and
Television Studies and the MA for Research in Film and Television Studies, to
undertake and complete a sustained research project on a topic determined in
consultation with the Director of Graduate Studies and your personal tutor. It does not
have to be directly related to any of the three taught modules or the reading and
viewing programme (although students are expected to show an understanding of the
methods used in these modules). However, to be accepted topics must fall within the
competence and interests of one member of the teaching staff and must be feasible in
terms of resources.
The dissertation is 15,000 words long (13,500 minimum, 16,500 maximum;
excluding footnotes [of reasonably short length], appendices, filmography and
bibliography). You should identify a topic which can be dealt with in that length. It is
not a book nor a long essay and you should avoid duplication of material from
assessed essays to your dissertation. It is an opportunity to develop research
techniques and methodologies in relation to a limited area, and to present the research
in an appropriate format. You will begin discussion about your topic with your
personal tutor towards the end of the autumn term. You can copy the Dissertation
Form in Appendix 4, and you should use this to focus your thinking. The first section
of this form, which enables us to allocate supervisors, should be submitted to the
Director of Graduate Studies, via Tracey McVey, by the Thursday of week 2 of the
spring term. We are unable to allocate any tutors until all the forms have been
received so please keep to the deadline - and remember to keep a copy of the form.
When supervisors have been allocated you should arrange to meet your supervisor to
discuss your project. The second section of the dissertation form provides guidelines
for organising your project and you should use it in consultation with your supervisor.
It is extremely important to begin work on your dissertation research in the Spring
Term while you are writing your essay(s). It can take time to work out exactly how to
focus the work and decide on what you need to look at and read. Only if you begin
work early do you have any chance of obtaining difficult material - maybe films not
distributed in this country, interviews with key personnel or access to archives. You
will not always understand how difficult it can be to obtain material until you have
tried: this means working out what you need early on.
You should see your supervisor on a regular basis arranged between the two of you.
Your supervisor may require you to submit written work regularly and will
recommend reading and viewing as well as assisting you in refining and structuring
your project. Do not be late for tutorials and if you must re-arrange, please give as
much notice as possible. Bear in mind that if you cancel a tutorial, it may not always
be possible to re-arrange it until the following week at the earliest.
In the summer term, you will be timetabled to present an account of your research to
your colleagues (see summer term work-in-progress presentations below).
23
Dissertation supervision finishes at the end of week 11 of the summer term, by which
time you should have completed your research, finalised your structure and written
drafts of the majority of chapters. The writing up period is undertaken alone with
final submission at the end of August. We are always happy to receive dissertations
early. Details on submission can be found in Appendix 4.
Dissertations must be submitted in duplicate to the Department Office by 12.00 on the
Monday 31 August 2015.
Summer term work-in-progress presentations
The work-in-progress presentations are designed to help you think, at a graduate level,
about common issues in writing a dissertation. The focus, at a general level, is on the
process of formulating appropriate questions, establishing a coherent corpus and
structuring your enquiry systematically. To help you prepare for these seminars, first
year MPhil/PhD students will give work-in-progress presentations normally in weeks
9 and 10 of the Spring term. These will be organised along the same lines as yours,
as explained below. All MA students, and first year MPhil/PhD students, are expected
to attend all seminars which normally take place on two days per week for the first
five or six weeks of the Summer Term. There will be at least two members of
staff at each seminar. The seminars will be organised with as much thematic coherence
as possible, but the very wide range of research topics often makes this difficult.
However, we would stress that even presentations on topics that seem far from your
own can raise relevant issues of corpus definition or methodology, while your
colleagues can be helpful with your own project. So although there is a specific
purpose for each of you in the opportunity to present your own dissertation research so
far, there is also a more general project in discussing ‘how to research in film and
television’ - how to formulate questions in ways which permit answers, how to
evaluate different methodological approaches and how to argue for your favoured
concerns.
Requirements:
Each student prepares a 20 minute (MAX.) presentation on their research topic and
provides an indicative bibliography and, usually, filmography or television listing (no
more than two sides of A4 combined). The time limit of 20 minutes is strictly chaired
and the presentation should include visual or other display material within that time.
The timetable for the presentations and further instructions are issued in the final week
of the spring term.
MPhil/PhD by Research
Meetings for supervision are arranged by consultation between supervisors and
supervisees. The most common arrangement is for the date of the next meeting to be
arranged at the end of each session. We are required by the University to keep a record
of supervision meetings in the office, and you and your supervisor will need to agree a
procedure. For example, you could e-mail your supervisor after each supervision
confirming the date of the next meeting and the task you will undertake.
It must be stressed that there is no set formula for a thesis and therefore for its
supervision. However, at most meetings you would be expected to give a verbal or
24
written account of your activity since the last meeting. Most commonly, the student
will give the supervisor written work some time prior to the meeting to form the basis
for discussion. It is also a good idea to bring film or television material along with
you on video (already cued) to use for discussion (all staff have viewing equipment in
their offices).
The work of all research students is monitored departmentally through a number of
mechanisms. These are indicated below as part of a programme also intended to
foster contact, support and exchange of ideas between graduates in the department.
The main aspects of this programme are as follows (dates are indicative and may vary
slightly):
i)
Introductory meeting, Tuesday week 1 of the autumn term, at which first year
students hear brief presentations by students in their second year and beyond
and introduce themselves to the group.
ii)
Work-in-progress presentations, all research students are expected to attend
these seminars during their first year at least (they are welcome to attend in
subsequent years).
- week 9 and 10 of the spring term: first year MPhil/PhD students present
their work-in-progress to the seminar.
- weeks 2 to 6 of the summer term: MA students present their dissertation
work-in-progress to the seminar.
For details of the presentations, see above under the MA section.
iii)
Research Review Panels and Research Review Boards.
- In Year 1, you will present a sample of your work to a Research Review
Panel (composed of two members of staff who are not your supervisor, with
the latter in attendance for feedback purposes). The work, which will be
submitted in duplicate, normally by Week 6 of the Summer Term, is selected to
demonstrate your progress (full details given in Appendix 8). Your supervisor
will also submit an independent report on your progress to the Panel. The
research reviews usually take place at the end of the summer term. You will
be notified of the date, together with more detailed information on what is
required towards the end of the spring term. The panels may recommend:
- upgrade from MPhil to PhD
And either
- submission of a research report to a Research Review Board (which
the student does not attend) in year two, subject to continued
satisfactory progress
- a Research Review Panel in year two
- other courses of action
- In year 2 and beyond, depending on the decision of the first year panel
(above), you will
EITHER
Submit a report on your progress, which reflects on the conceptual issues
raised by the thesis (of one page maximum), a draft of the abstract and a
25
schedule for completion. Your supervisor will also submit a report on your
progress, and both reports and the schedule will be discussed by a Research
Review Board and your supervisor (the student is not present).
OR
Submit material to a further Research Review Panel which will be constituted
as in year 1.
For a detailed version of this programme, please see Appendix 8.
The PhD Advisor System
In addition to their supervisor, PhD students will also be allocated a ‘PhD Advisor’.
The advisor will normally be a member of the Department of Film and Television
Studies and will normally have an interest or expertise in the student’s area of study.
The role of the PhD advisor is principally threefold:
1. The advisor will, at the end of each year of study, read a draft chapter or equivalent
from the student’s thesis, and offer feedback to the main supervisor on the
student’s progression. This will act as a further system of monitoring of
Postgraduate Research Student progress, in addition to the annual review board
system. If the main supervisor is unexpectedly unavailable, as a result of sudden
illness, for example, the advisor may act as temporary supervisor in the short term,
provided that their expertise is appropriate to the project, If this is not the case, a
different temporary supervisor may be appointed.
2.
The advisor will act as a mentor in relation to departmental teaching duties,
and may be consulted about other aspects of academic career development
such as proposing and presenting conference papers, in addition to the
supervisor.
3.
3. The advisor may provide a source of pastoral support, second to the
supervisor.
The PhD advisor system is student-led.
Research Ethics
The department and the university take the ethical implications of research involving
human participants very seriously. In the unusual circumstance that a graduate student
undertakes research of this kind, the design of the research and the ethical implications
of the proposed project should be discussed with the supervisor and Director of
Graduate Studies, and considered in relation to the University’s Research Ethics and
Governance guidance and Ethical Scrutiny Framework, which can be found at
http://www2.warwick.ac.uk/services/rss/services/ethics/
The related Research Ethics Code of Practice can be found at
http://www2.warwick.acarefullyc.uk/services/rss/services/ethics/governance/codeofco
nduct/ and should be read and adhered to carefully. If you plan to undertake research
involving human participants (such as oral history, audience research or production
interviews), you must complete the department’s Ethics Review Document, which can
be found in Appendix 9. You should complete this in conjunction with your
supervisor, and pass it to the Director of Graduate Studies for approval, BEFORE
beginning your fieldwork. If it is decided that the project has ethical implications,
26
advice should be sought from the University’s Research Ethics Committee.
Postgraduates Undertaking Undergraduate Teaching
Some teaching in the Department is undertaken every year by PhD students. These
undertake undergraduate seminars on modules taught by staff and others. Each
summer PhD students (normally those in year 2 or year 3 of their studies) are invited to
submit a request to teach if they so wish. These requests are evaluated by the Head of
Department in relation to various criteria which begin with the requirements of our
undergraduate students and extend to rate of progress on the PhD, communications
skills and so on. There is no guarantee whatsoever that all PhD students will be given
the opportunity to teach, although the Department tries to afford this opportunity
wherever possible. Teaching is paid at two rates; a higher rate is paid to those who have
completed a PhD and already undertaken teaching in the Department, while a lower
rate is paid to those who have not completed their PhD and/or have not previously
taught in the Department.
27
5. ASSESSMENT
MA in Film and Television Studies
The MA is assessed on the basis of three essays and, for the core module, three
shorter pieces of work (30 credits each) and a dissertation (60 credits). Extensions
can be granted only by the Director of Graduate Studies, and will normally be given on
production of a medical certificate.
Late submission of an essay, where an extension has not been sought and granted, will
result in a penalty of 3% of the agreed mark, per day late. This may seriously affect
your mark, and is likely to affect your references. If there are serious (and
documented) medical circumstances, an extension may be granted retrospectively.
Essays
One 5,000 word assessed essay is required for each module. Essays must be typed
and may not exceed 5,500 words. They should be dated on the front page (date of
submission). Two copies of each essay must be submitted. Work marred by errors of
spelling, punctuation, etc. may have to be corrected or retyped. A word count must
follow the text of the essays and the dissertation. Essays may not be submitted by fax
or email.
An MA with distinction may be awarded at the discretion of the Board of Examiners.
Candidates who reach an appropriate standard but who are deemed by the Board of
Examiners not to have reached the standard required for the award of MA in Film and
Television Studies may be considered for the award of Postgraduate Diploma in Film
and Television Studies (in exceptional circumstances, candidates who have not
submitted the dissertation may be considered for this award).
The Board of Examiners may ask for resubmission of essays or dissertations.
The Board of Examiners will meet during the Autumn Term 2015.
Deadlines for 2014-2015
All essays should be submitted to Dr Adam Gallimore by 12.00 noon on Wednesday of
the submission week. Essays will be returned four weeks after the submission date.
TERM ONE
2014
Wednesday 05th November
Wednesday 26th November
Wednesday 10th December
Return Date
(Wk 6)
(Wk 9)
(Wk 11)
Screen Cultures & Methods
Screen Cultures & Methods
Television History & Aesthetics
03rd December
24th December
12th January
28
TERM TWO
2015
Wednesday 07th January
Wednesday 14th January
Return Date
(Wk 1)
(Wk 2)
Screen Cultures & Methods
Film Criticism, Film Style
04th February
11th February
TERM THREE
2015
Wednesday 22nd April
Wednesday 29th April
Wednesday 06th May
Monday 31st August

Return Date
(Wk 1)
(Wk 2)
(Wk 3)
Journeys & Landscapes in Film
Documentary
Film Philosophy
21st May
Dissertation
05th October
29th May
04th June
The dissertation should be of 15,000 words (13,500 minimum, 16,500 maximum
- 10% each way), excluding footnotes (of reasonably short length),
appendices, filmography and bibliography. It must be typed and follow the
essay style conventions (see Appendix 3). The date of submission should be on
the front page and a word count must follow the main text of the dissertation.
Students are required to submit two copies of their dissertation, one of which
will be returned to them. The dissertation should be accompanied by a
dissertation cover sheet, available from the office or from the departmental
website. Essays and the dissertation must not be submitted by fax or email.
The deadline for the dissertation is Monday 31 August 2015.
MA for Research in Film and Television Studies
The MA is assessed on the basis of the following:

One 5,000 word essay for each taught module. The deadlines are the same as
those taking the modules as part of the MA in Film and Television Studies.

One 5,000 word essay related to the independent study programme to be
negotiated with your supervisor(s) for the programme. The deadline for this
essay is 12.00 noon Wednesday week 3, Spring Term OR, if the module is
taken in Spring Term, 12.00 noon Wednesday week 1, Summer Term.

One 15,000 word dissertation (13,500 words minimum, 16,500 words maximum,
10% each way) excluding footnotes [of reasonably short length], appendices,
filmography and bibliography). It must be typed and follow the essay style
conventions (see Appendix 3). The date of submission should be on the front
page and a word count must follow the main text of the dissertation. Students are
required to submit two copies of their dissertation, one of which will be
returned to them. The dissertation should be accompanied by a dissertation
cover sheet, available from the office or from the departmental website.
Essays and the dissertation must not be submitted by fax or email. The
deadline for the dissertation is Monday 31st August 2015.

All elements must have the date of submission on the front page and be followed
by a word count. The same submission rules apply as for the Taught MA. To
29
pass, the essays and report must obtain a mark of at least 50. In order to qualify
for the MA, students must gain passes in at least three elements and in the
dissertation. A distinction or merit may be awarded at the discretion of the
finals examination board. The examination board may ask for resubmission
of any element. Essays and the dissertation must not be submitted by fax or
email.
MPhil and PhD by Research
Research degrees are assessed on the basis of a thesis and a viva (oral examination).
Theses are of the following maximum length:
MPhil
PhD
60,000 words
80,000 words
This does not include appendices, footnotes, bibliography and filmography, but
appendices and footnotes must not be used for material that is essential and integral to
the thesis, nor for the elaboration or qualification of argument.
Guidelines on the presentation of the thesis should be obtained from the Graduate
Office. The Guide to Examinations for Higher Degrees by Research is available
online at
www.warwick.ac.uk/go/gsp/admin/guide to examinations for higher degrees by re
search.pdf
N.B.: candidates for research degrees must now submit their theses in electronic
form as well as in hard copy. Two copies of the thesis, saved in pdf format and
on two separate cd-roms, must be submitted to the Graduate School with the
hard copies of the completed thesis. See pages 4 and 10 of the guidelines.
IMPORTANT: When doctoral theses are deposited with the British Library,
with no restrictions on access, a digitised copy will also be added to the university
library’s open access archive unless students write to them withdrawing
permission.
The thesis is submitted at the end of two (MPhil) or three (PhD) years.
In accordance with University regulations, all prospective PhD students are now
registered officially as ‘MPhil’ students. The Graduate Research Review Panels,
which meet at the end of the summer term in year 1, make a decision as to whether the
students can progress to PhD (see earlier section and details in Appendix 7).
Extension of PhD study
The maximum period of registration for the degree of PhD will be four years. The
normal length of time for researching and writing a PhD thesis is three years and so the
registration period includes a substantial allowance for additional writing time. Requests
for extensions beyond the four years must be made via the Department to the Graduate
School and will only be considered in genuinely exceptional circumstances.
30
The Viva
The viva is conducted by one external and one internal examiner. The latter liaises
between the parties involved to determine the time of the viva, which is normally held
in the department. The purpose of the viva is laid down as follows:
to enable the examiners to clarify any ambiguities in the thesis, to satisfy
themselves that the thesis is the candidate’s own work, that the candidate
is familiar with the relation of his/her work to the field of study and also
that his/her knowledge and appreciation of adjoining fields in the subject
are up to the standard expected for the award of the appropriate degree.
The viva may also involve an Examinations Adviser, who will be a senior member of
the department, to assist the internal and external examiners. The adviser does not
read the thesis, but clarifies any points of departmental or university procedure.
If a student is, or has been within 12 months of the date of submission, a member of
staff, as defined in University Ordinance 10 (1) on Departments (available in the
University Calendar on the University website), two external examiners will be
appointed, along with an Examinations Adviser.
31
6. THE UNIVERSITY: SUMMARY OF USEFUL
SUPPORT SERVICES
If you feel inhibited from talking to a tutor or other member of staff in the first instance, you
may also consider talking to a member of your SSLC, the Students’ Union, the University
Senior tutor or a member of staff in Student Support for initial, informal advice.
The Senior Tutor and Student Counsellors
The Senior Tutor and Student Counsellors offer a confidential service dealing with various
academic and personal problems including financial problems, problems connected with the
law and university regulations, problems involving the provision of facilities for students with
disabilities, or harassment of any sort. You may consult the counsellors of your own accord,
or you may be referred to them by your personal tutor. The Senior Tutor and Student
Counsellors are to be found on the ground floor of University House as part of Student
Development and Support. The receptionists, Marie Proctor and Ruth Leigh can be contacted
on extension 23761 or email seniortutor@warwick.ac.uk
Student Careers and Skills
Careers and skills support for Postgraduate Film and Television Studies students
The University’s Centre for Student Careers & Skills provides support and resources to help
you plan and manage your career effectively. A dedicated team of Careers Consultants offers
specialist advice and support to individuals according to their department or their chosen area
of work. The Centre also delivers one-to-one advice and workshops to support academic and
personal skills development and a team of job search advisers are on hand to offer advice on
job hunting.
The Centre is located in The Learning Grid in University House. Their enquiry desk is staffed
between 10:00 – 18:00 during term time, or you can contact the team by phone or email. For
further information of services on offer visit the Careers website:
http://www2.warwick.ac.uk/services/scs
To get ideas about the many opportunities to develop your skills and to book onto careers
workshops and events whilst at Warwick, visit Warwick Advantage:
http://go.warwick.ac.uk/advantage
Warwick Portfolio for Postgraduate Researchers
Postgraduate researchers can now get support with their skills development through a new
initiative from the Graduate School, the Warwick Portfolio.
Through the Portfolio, postgraduate research students can access information on skills
training opportunities and resources from across the University, including training offered at
faculty level. In addition, the Portfolio offers a private online space to maintain a record of
training, experience and achievements, as well as providing a place to reflect on and compile
evidence of skills development to show to potential employers.
32
Find out more and get started at go.warwick.ac.uk/warwickportfolio
Departmental Careers Support
There is a Senior Careers Consultant who links with Film and Television Studies. You will
also be able to meet with them on a one-to-one basis at careers clinics held in Millburn
House.
The Department also has a Student Careers & Skills Representative whose role includes
updating the Facebook Page for Film and Television Careers at Warwick. Make sure you
‘like’ the Facebook page, to ensure you hear about opportunities.
Also follow Warwick Arts Careers on Twitter @artscareers for regular updates on
opportunities and internships in the arts, cultural and media industries. For more information:
http://www2.warwick.ac.uk/services/scs/started/departments/filmandtv
Fairs, Presentations and Sector Events
We run careers fairs and a programme of employer presentations, where you can find out
more about opportunities on offer and what employers’ are looking for. Do remember that
not all sectors are represented by employers who are able to come on to campus to recruit.
We try to balance things out by asking Warwick graduates and others from popular career
areas to come in and share their insights into their sector or job. Come and hear what they
have to say and pick up tips by attending events such as ‘Working in Radio, Television and
Film’ and ‘Working in Publishing’. These events normally take place in the spring term.
We also run career sessions, interactive events on a range of topics from developing your CV
to assessment centres. Masters students may find it helpful to come to a workshop on
“Considering a PhD for Arts Students” on Friday 23 November from 11-12, which is part of
the central Careers and Skills workshop provision.
Check out the careers website for regularly updated details of events at
http://www2.warwick.ac.uk/services/scs
Example Destinations
Previous postgraduates from Film and Television Studies have gone into a wide range of
careers following their studies.
Recent example of jobs entered by masters postgraduates include Assistant Manager,
Teacher, English Editor, Journalist, Media Loans Assistant, Project assistant and Law Media
Executive.
Example employers/industries entered by masters postgraduates include: Publishing of books
and periodicals, scientific research and development and business support services.
Further destination data can be viewed via Graduate Employment Market Statistics on the
Students Careers & Skills website:
http://www2.warwick.ac.uk/services/scs/started/gradstats/gems/external/
33
Skills Development
Use the Masters Skills Programme or Research Student Skills Programme to develop your
personal, academic and career management skills, improve your marks, impress potential
employers and network with other Warwick students. Take a look at what is on offer at:
http://www2.warwick.ac.uk/services/scs/skills/msp/ or
http://www2.warwick.ac.uk/services/scs/pgr
Support for work experience
It is extremely important to gain work experience in order to both firm up your ideas of what
it might be like to work in a particular sector and also to demonstrate your commitment and
interest in working in that sector to potential employers. The Placement Learning Unit is
responsible for promoting, to students and other stakeholders within the University, the value
of work experience to graduate employment prospects; supporting students in their
preparation for work experience that is not part of their studies and reflecting upon that
learning and increasing the breadth and number of placements advertised on our exclusive
student careers website in response to student demand.
Warwick also has a bursary fund to support students in doing a short period of unpaid work
experience. http://www2.warwick.ac.uk/services/scs/experience/bursary/
Have a look at the vacancy database MyAdvantage within the main Careers website
(http://go.warwick.ac.uk/myadvantage) for details of work experience placements,
volunteering opportunities and internships. These are all an excellent way to enhance your
range of life experiences and to really help to give you the edge as a graduate employee.
Warwick Advantage Awards
The Warwick Advantage and Warwick Advantage Global Awards are a unique collaboration
between the Students’ Union and Student Careers & Skills. You can apply to receive formal
recognition for developing your skills or intercultural capabilities through the extra-curricular
activities you are involved in whilst at Warwick. Award winners are invited to attend an
annual Award Ceremony. Graduate recruiters tell us they value highly the skills students
develop through their extracurricular activities and the Awards are a great way to enhance
your graduate employability.
You’ve made one good career decision, to study with us, but now the process continues.
Pursuing Film and TV Studies at Warwick can make you very employable, but we do urge
you to take advantage of all the opportunities open to you to get the most out of your time
here.
The Students’ Union
All students may become members of the Students’ Union and can join any student society
or run for office in the annual elections. The Union offers a number of services including an
Advice and Welfare Service.
The Students’ Union is constituted so as to ensure that each faculty is represented on the
Union Executive. An Arts representative will be elected early in the term. Anyone who has a
34
problem that cannot be resolved and who feels the Union can help should contact this
representative.
Sexual and Racial Harassment
The University and the Students’ Union regard all forms of harassment as
unacceptable and are prepared to take disciplinary action against offenders. Both the
University and the Students’ Union are committed to creating a community that is free from
harassment and discrimination. Sexual, racial and personal harassment can seriously
worsen conditions for staff and students at the University.
The University and Students’ Union have prepared Guidelines on Sexual, Racial and Personal
Harassment (which can be seen on insite in the campus Life [Health and Welfare] section).
The Guidelines include advice on identifying and addressing harassment, formal
procedures which can be followed and details of sources of support. The Guidelines are
also available from the office of the Director of Student and Ancillary Services.
The University Website
The website is a major source of information, which many of you will no doubt have already
accessed. It is to be found at www.warwick.ac.uk. From here you can easily navigate your
way through a great deal of information about the university’s academic departments and
services.
University regulations and procedures are formally laid down in the Calendar, which is
available on the web at : www2.warwick.ac.uk/insite/info/gov/calendar/
In the ‘resources for students’ section of the website you will find a great deal of
information, including:
Improving provision for students with disabilities
Accommodation details
Jobs, including Unitemps, the university’s own temping agency.
The student academic complaints procedure
35
APPENDIX 1
DATES OF TERMS
2014 - 2015
Autumn Term
Monday 29 September 2014 - Saturday 6 December 2014
Spring Term
Monday 5 January 2015 - Saturday 14 March 2015
Summer Term
Monday 20 April 2015 - Saturday 27 June 2015
2015-2016
Autumn Term
Monday 5 October 2015 - Saturday 12 December 2015
Spring Term
Monday 11 January 2016 - Saturday 19 March 2016
Summer Term
Monday 25 April 2016 - Saturday 2 July 2016
2016 - 2017
Autumn Term
Monday 3 October 2016 - Saturday 10 December 2016
Spring Term
Monday 9 January 2017 - Saturday 18 March 2017
Summer Term
Monday 24 April 2017 - Saturday 1 July 2017
2017 - 2018
Autumn Term
Monday 2 October 2017 - Saturday 9 December 2017
Spring Term
Monday 8 January 2018 - Saturday 17 March 2018
Summer Term
Monday 23 April 2018 - Saturday 30 June 2018
APPENDIX 2
36
TIMETABLES AND SUMMARY OF SIGNIFICANT
DATES FOR TAUGHT POSTGRADUATE
PROGRAMMES
MA Taught Modules: Teaching Timetable
Autumn Term
Core Module: Screen Cultures and Methods
Room A1.27
Option: Film Criticism, Film Style
Room A1.27
Option: Television History and Aesthetics
Monday
10.00 – 18.00
Tuesday
10.00 – 18.00
Thursday
10.00 - 18.00
Room A1.27
Graduate Skills Programme – various times, see separate handout
Spring Term
Option: Journeys and Landscapes
Room A1.27
Option: Documentary
Room A1.27
Option: Film Philosophy
Room A1.27
Monday
10.00 – 18.00
Tuesday
10.00 – 18.00
Wednesday
14.00 - 18.00 &
Thursday
14.00 – 18.00
37
Summary of significant dates:
Autumn Term 2014




Week 6, Wednesday 5th November. 12.00. Deadline for task 1 core module.
Week 9, Wednesday 26th November. 12.00. Deadline for task 2 core
module.
Weeks 8-10. Arrange to see personal tutor to discuss dissertation topic.
Week 11, Wednesday 10th December. 12.00. Deadline for Television History
& Aesthetics essay.
Spring Term 2015
 Week 1, Wednesday 7th January 12.00. Deadline for task 3 core module.
 Week 2, Wednesday 14th January 12.00. Deadline for Film Style, Film
Criticism essay.
 Week 2 (by Friday 16th January). Submit first section of dissertation form to
Director of Graduate Studies via Department Office (keep a copy).
 Week 4. Dissertation supervision starts (supervisors announced).
 Week 7. Submit second section of dissertation form to your supervisor.
 Week 9. Departmental Work-in-progress seminars begin (First year PhD
presentations). Timetable for summer term MA presentations announced.
Summer Term 2015



Week 1, Wednesday 22nd April 12.00. Deadline for Journeys and
Landscapes essay.
Week 2, Wednesday 29th April 12.00. Deadline for Documentary essay.
Week 3, Wednesday 6th May 12.00. Deadline for Film Philosophy essay.
Weeks 2-6. Attend MA work-in-progress presentations. Prepare and make
presentation as announced in timetable.
Week 9. Farewell lunch, end-of-course review.
WEEK 11. DISSERTATION SUPERVISION FINISHES.


Check out timetable for dissertation binding.
Monday 31st August 2015 - submit dissertation before 12.00 noon.



Autumn Term 2015
 November 2014 - Examination Board.
Spring Term 2016
 January 2016 - Graduation.
38
MA for Research in Film and Television Studies
Summary of Significant Dates
Autumn Term 2014


Weeks 1 and 2. If taking this term, arrange independent study programme with
Director of Graduate Studies and supervisor. Follow training programme as
appropriate.
Weeks 8-10. Arrange to see personal tutor to discuss dissertation topic.
NB. See above for dates relating to chosen taught module.
Spring Term 2015
 Week 2 (by Thursday 16th January) - submit first section of dissertation form to the
Director of Graduate Studies (keep a copy).
 Week 3. Deadline (Wednesday 21st January 12.00) Film Style, Film Criticism and
Journeys and Landscape essays OR of one of these and, if taken in Autumn Term,
independent study essay.
 Week 4. Dissertation supervision starts (supervisors announced).
 Week 7. Submit second section of dissertation form to your supervisor.
 Week 9. Departmental Research Seminars begin (First year PhD presentations).
Timetable for summer term presentations announced.
Summer Term 2015
 Week 1. Wednesday 22nd April 12.00. Deadline for History and Memory in
Italian Cinema essay and, if taken in Spring Term, independent study essay.
 Week 2. Wednesday 29th April 12.00. Deadline for Documentary essay.
 Week 3.and Sound Cultures essays
 Week 9. Farewell lunch, end-of-course review and session on completing of
dissertations.
 WEEK 11. DISSERTATION SUPERVISION FINISHES.


Check out timetable for dissertation binding.
1st September (Monday) - submit dissertation before 12.00 noon.
Autumn Term 2014
 November 2014 - Examination Board.
Spring Term 2015
 January 2015 – Graduation
APPENDIX 3
39
GUIDELINES FOR THE WRITING OF ESSAYS
Essay writing is a personal and creative activity but it is done within conventions of
scholarly practice. Getting a practical sense not just of the balance, but of the
relationship between these two aspects will be a large part of your progress.
1. The Purpose of Essays
Preparing and writing essays is one of the main ways in which students on the degrees
in the Department of Film and Television Studies develop their abilities. It is also
through essays, that the department tests students. An essay is an opportunity to
formulate ideas, to set out an argument and to support it with evidence. The argument
is yours but it is not just your opinion. Your work should be original, not necessarily
in the sense of presenting something never previously thought of, but in taking
responsibility for your own argument. Essays sharpen analytic, rhetorical and writing
skills that can then be applied to other tasks. These ‘transferable skills’ are highly
prized by potential employers who value good communication.
2. Use of Background Material
In preparing your essay you will generally consult some historical, critical and
theoretical studies relevant to the topic. This background reading may in some cases
be less important than your close study of films and televisual works, but it is essential
to enable you to extend and focus your own responses. The department encourages the
development of individual analytical skills, backed by knowledge and established
sources. Essay writing will allow you to explore your own point of view, supported by
the evidence you have gathered.
With this in mind, make sure you note the details of secondary sources as you read
them (see (d) ‘Acknowledgement of sources’ below). Use the notes you have made,
but avoid confusing them with a formulation of your own view. The books and
articles you consult acknowledge their sources; this is normal academic practice and
you must follow it.
Note on Plagiarism
Plagiarism is the abuse of secondary reading in essays and trying to pass someone
else’s work off as your own. It consists first of the direct transcription, without
acknowledgement, of passages, sentences or even phrases from someone else’s
writing, whether published or not. It also refers to the presentation as your own of
material from a printed or other source with only a few changes in wording and to the
replication of an argument that is not yours. There is a grey area where making use of
secondary material comes close to copying it, but the problem can usually be avoided
by acknowledging that a certain writer holds similar views. All quotations from
secondary sources, including the Internet, must therefore be acknowledged each time
they occur and no direct citations should be inserted in your assessed work without
being fully acknowledged via the use of inverted commas etc.. It is not enough to
simply include any work even cursorily cited from which you have taken quotations in
40
the bibliography at the end of the essay, and such inclusion will not be accepted as a
defence should plagiarism be alleged.
The university regards plagiarism as a serious offence. A tutor who finds plagiarism
in an essay will report the matter to the Chair of the Department. The Chair may, if
plagiarism is proved, impose a penalty of 0% for the essay in question. The Chair may
also refer the case to an investigating committee and the University’s Academic
Registrar if it seems appropriate. If plagiarism is detected in one essay, it is likely that
other essays by the student concerned will be examined for evidence of the same
offence and a note that you have been found to have plagiarised will be placed in your
file.
In practice, few students are deliberately dishonest and cases of plagiarism may arise
from bad scholarly practice. There is nothing wrong with using other people’s ideas.
In fact one good kind of essay is an intelligent survey and synthesis of existing views.
The important thing is to know what is yours and what is not and to communicate this
clearly to the reader.
3. Scholarly Presentation
Observing certain principles of scholarly presentation for assessed essays is a basic
and transferable skill. It aids clarity of communication and enables you to provide a
full account of the argument you are putting forward.
(a) General presentation
 Students must submit two copies of their essays in word-processed form.
 A word count must be provided at the end of the essay, and recorded on the
front sheet. Footnoted references, along with bibliographies and filmographies,
should not be included in the word count, but all other text (including
quotations) must be.
 Use A4 size paper.
 Print on one side only of each sheet.
 Number all pages.
 Unless otherwise instructed, insert your name at the head of your essay, on the
right-hand side, and on the left-hand side the name of the tutor. Below this
should appear the title or question for discussion.
 Leave wide margins for tutors’ comments on either side of the page, with
space also at the top and bottom.
 Text must be double-spaced.
 Keep a copy of your essay for future reference.
 All essays must include both a bibliography and a filmography.
(b) Presentation of titles (films, books etc) and foreign words
 Titles of films, books, long poems first published individually, television
programmes, plays, paintings and periodicals must be italicised.
Examples: Citizen Kane; Film Art: An Introduction; Paradise Lost; Big
Brother; The Merchant of Venice; The Birth of Venus; Sight and Sound.
 The titles of articles published in periodicals, essays in edited collections, and
short poems in anthologies should be presented in single quotation marks.
41

Example: Laura Mulvey argues in her essay ‘Visual Pleasure and Narrative
Cinema’ that...
Words or brief phrases in foreign languages, unless they are part of a larger
quotation, should also be italicised.
Example: A common feature offin de siècle novels was...
(c) Quotations
 All quotations, from whatever source, should be exact in wording, spelling and
punctuation.
 Short quotations embedded in the main text should be enclosed in single
quotation marks and should be accommodated to the syntax of the sentence in
which they occur. Three dots (ellipsis) are used to indicate where words or
phrases have been cut from a quotation. Accommodation to syntax of sentence
is indicated by the use of square brackets ([ ]).
Example: In Hollywood Genres, Thomas Schatz claims that ‘the gangster
genre has had a peculiar history ... [and that] its evolution was severely
disrupted by external social forces’.
 Quotations within quotations should be differentiated by putting double
quotation marks within single ones.
Example: According to Schatz, ‘in the words of Johnny Rocco (Edward G.
Robinson) in Key Largo: “There are thousands of guys with guns -- but there’s
only one Rocco”’.
 Long prose quotations (i.e. those which take up more than three lines of text)
and quotations in verse should be indented by one tab stop from the left hand
margin, single spaced – though separated from the surrounding text by an extra
line space before and after – and presented without quotation marks.
Example:
In Jarman’s Edward II, as Edward embraces Gaveston, Annie Lennox sings
Cole Porter’s lyrics:
Every time we say good-bye
I die a little,
Every time we say good-bye
I wonder why a little.
The significance of this anachronistic choice of song is...
(d) Acknowledgement of sources
 Every time you insert a quotation, refer to information, or paraphrase an idea
drawn from another writer, you must provide a reference which clearly
indicates the original source.
 There are several referencing systems in operation. Below are guidelines on
using the ‘author-title’ system which is the set of conventions most widely
used by other departments in the Faculty of Arts and humanities disciplines
generally, and which we strongly recommend. For a more exhaustive account
42




of the rules of use for this system please consult the MHRA Style Guide
(London: Modern Humanities Research Association, 2002), available in the
library.
In the author-title system, references are presented as footnotes or endnotes. A
numeral in the main text will direct the reader to the equivalent footnote or
endnote containing the reference details. All modern word-processing
applications have the facility to insert and auto-format footnotes/endnotes.
(N.B. The numerals in the main text should ideally be placed at the end of a
sentence rather than in the middle of one – even if this means they do not
immediately follow the close of a quotation.)
On the first occasion that a particular source is referred to, the reference must
include full bibliographic details for the source along with the relevant page
number. The full references for published sources should always be presented
in the format shown below.
Examples:
1 Robert Sklar, Movie-Made America: A Cultural History ofAmerican Movies
(New York: Random House, 1975), p. 56.
2 Richard Maltby, ‘“Grief in the Limelight”: Al Capone, Howard Hughes, the
Hays Office, and the Politics of the Unstable Text’, in James Combs (ed.),
Movies and Politics (Westport: Greenwood Press, 1992), pp. 104-105.
3 Barbara Klinger, ‘Digressions at the Cinema: Reception and Mass Culture’,
Cinema Journal, 28:4 (Summer 1989), pp. 3, 5.
N.B. Observe that whilst the references for single-author monographs and
edited collections must indicate the place of publication and the name of the
publishers of the book concerned, references to periodicals do not. ‘28:4’ in
the reference to Cinema Journal means volume 28, issue 4; periodicals which
are published less than four times a year tend to count issues by number only.
Also note that if a single page is referenced, the abbreviation for the page
number is ‘p.’; a reference to more than one page is indicated by ‘pp.’.
If you make successive references to the same source, then the Latin
abbreviation ‘Ibid.’ (short for ibidem, which means ‘in the same place’) is used
in place of the author’s name and the title of the source etc. ‘Ibid.’ is all that is
needed if you are referring to the same page from this source in successive
references. If you are referring to a different page this must be indicated.
Example:
1 Robert Sklar, Movie-Made America: A Cultural History ofAmerican Movies
(New York: Random House, 1975), p. 56.
2 Ibid.
3 Ibid., p.58.
When further references to the same source do not immediately follow the
initial citation, ‘ibid.’ cannot be used. But all subsequent references are
shortened to the author’s surname and a succinct version of the source title.
Example:
3 Barbara Klinger, ‘Digressions at the Cinema: Reception and Mass Culture’,
Cinema Journal 28:4 (Summer 1989), pp. 3, 5.
4 David Bordwell, Janet Staiger and Kristin Thompson, The Classical
Hollywood Cinema: Film Style and Mode ofProduction to 1960 (London:
Routledge, 1985), p. 23.
5 Klinger, ‘Digressions at the Cinema’, p. 11.
43
6 Bordwell,

Staiger and Thompson, Classical Hollywood Cinema, p. 23.
When you quote something from a source you have not directly consulted, but
which is cited in another secondary source, this must be clearly indicated in
your reference.
Example:
Laura Mulvey has written that ‘Hollywood films made with a female audience
in mind tell a story of contradiction, not of reconciliation’.7
7 Laura Mulvey, ‘Notes on Sirk and Melodrama’, Movie 25 (Winter 1977-78),
p. 56; quoted in Richard Maltby, Hollywood Cinema (2nd edn.; Oxford:
Blackwell, 2003), p. 353.
Bibliography
All assessed essays must include a bibliography at the end which lists every written
source which you have directly consulted. Each entry must include the same amount
of publication information provided in the initial reference to the source in your
footnotes/endnotes. The only differences in the way this information should be
formatted in your bibliography are:
 Author surnames are listed first (the bibliography must be ordered
alphabetically by surnames). If the source consulted was authored
anonymously then ‘Anon.’ or ‘ANONYMOUS’ should be written in place of a
surname.
 Page numbers are not needed for listing monographs, but bibliographic entries
for essays in edited collections and articles in periodicals should indicate the
page range occupied by the essay/article.
 When an essay from an edited collection is listed, the book itself should be
listed separately under the surname of its editor(s) – see the Geraghty /
Brunsdon example below.
Example:
Bibliography:
Banton, Michael, The Idea of Race (London: Tavistock, 1977).
Brunsdon, Charlotte (ed.), Films for Women (London: British Film Institute,
1986).
Fischer, Lucy (ed.), Imitation of Life: Douglas Sirk, Director (New Brunswick:
Rutgers University Press, 1991).
Geraghty, Christine, ‘Three women’s films’ in Brunsdon (ed.), Films For
Women, pp. 138-145.
Malbert, Roger, and Coates, John, Exotic Europeans (London: South Bank
Centre, 1991).
Newman, Kim, review of Sin City, in Sight and Sound 15:6 (June 2005), pp.
72-74.
Vincendeau, Ginette, ‘Gérard Depardieu: The Axiom of Contemporary French
Cinema’, Screen 34:4 (Winter 1993), pp. 343-361.
Internet citations
References must be given for all written material consulted and cited, including
internet sources. The conventions for quotations from books and journals (see above)
also apply to internet sources, and all such sources should be included in your
bibliography.
44
The agreed conventions for internet citations take the following basic form:
Author of page/s, name/title of page/s (in inverted commas), name of website
(italicised), date of posting (in parentheses; write ‘n.d.’ if this information cannot be
ascertained), page number (if indicated)*, URL, date accessed.
Example:
Ghosh, Arup Ratan, ‘Satyajit Ray’s Male Gaze’, Views, Reviews, Interviews,
(2000) <http://www.geocities.com/arghosh/malegaze.html>, accessed 18 May
2003.
Online journals often indicate an issue number, just like a published periodical, rather
than a specific posting date, and, in such cases, the way in which publication
information is presented at source should be duplicated.
Example:
Norton, Glen W., ‘Nostalgia for the Present: The Godard Renaissance
Continued’, Senses of Cinema 35 (April-June 2005)
<http://www.sensesofcinema.com/contents/05/35/godard_renaissance.html>,
accessed 12 June 2005.
*An increasing number of hard-copy journals are published simultaneously in an online format, and the
latter generally replicate the exact layout of the printed version to the extent that they indicate page
breaks and page numbers.
Citations of unpublished/non-written sources
Lectures
There may be occasions when you wish to make clear that certain statistics or ideas
which you are presenting in an essay have been taken from a course lecture. The
convention for indicating this in a footnote/endnote reference is demonstrated below.
Example:
9 Richard Dyer, lecture given at the University of Warwick, Coventry, 21
January 2005.
N.B. Such sources should not be indicated in your bibliography.
Films




When a film is first mentioned within the text, details of director and/or
production company and/or country of origin and the year, should be included.
Example:
The Big Sleep (Howard Hawks, Warner Brothers, USA, 1944).
On the first occasion that you refer to a particular character in a film, you
should indicate the identity of the actor playing him/her.
Example:
The main protagonist Philip Marlowe (Elliot Gould) is first seen...
All essays must include a filmography, following the bibliography, which
should provide details of all films viewed in the preparation of the essay and
referred to in the text.
A film entry in a filmography usually begins with the title (italicised), and
includes the director, the country of origin, and the year. You may include
45

other details that seem pertinent, such as the names of the principal performers
or the production company. It is recommended that you include the names of
the major characters in brackets after the names of the performers.
Example:
To Have and Have Not. Dir. Howard Hawks, Prod. Warner Brothers, USA,
1944. Main cast: Humphrey Bogart (Harry Morgan), Lauren Bacall (Slim),
Walter Brennan (Eddie).
References to films in both notes and main text should include full title with
initial capitalisation according to the accepted style of the language concerned.
(For courses where foreign language films are extensively studied, the module
leader will explain how titles should be capitalised in the relevant language.)
Titles should always be italicised. In the case of non-English language films,
original release titles in the original language should be followed by the US
and/or British release title.
Example:
L’Amour violé/Rape ofLove.
Television or radio programmes
 When television or radio programmes are discussed or alluded to in your
essay, they must also be listed in your filmography. Information for such
sources usually appears in the following order:
a)
b)
c)
d)
e)
Title of episode or segment, if appropriate (in quotation marks)
Title of programme ( italicised)
Country of origin
Name of cha nnel or netw ork
Transmission date. This is abbreviated to ‘tx’, and can be found for all
programmes broadcast in the UK after 1995 in the online Television and Radio
Index for Learning and Teaching (TRILT) at: http://www.trilt.ac.uk/index.php.
Example:
‘Sold’, episode one, Band of Gold, first series, UK, Granada, tx. 12.3.1995.
Writer: Kay Mellor, Dir: Richard Standeven, Prod: Tony Dennis
Main cast: Cathy Tyson (Carol), Geraldine James (Rose), Barbara
Dickson (Anita), Ruth Gemmell (Gina).

Within the main text, the first (and only the first) reference made to a
television programme should be dated from the year of first transmission and,
in the case of long-running serials, the duration of the run should be indicated.
Details of production company, channel, country, may be supplied where they
are relevant to the argument but otherwise are best left for inclusion in the
filmography.
Example:
Coronation Street (Granada, 1961 -) is notable for its emphasis on strong,
witty and independent-minded women.
Where writers or producers are credited their role should be indicated.
Example:
Where the Difference Begins (Writ. David Mercer, BBC, 1961) was one of
Mercer’s most important contributions to television drama.
46
DVDs
The conventions for referencing information or quotations taken from the audio
commentary on a LaserDisc or DVD take the following basic form:
Name of speaker, name and date of origin of film, media format, publisher of disc,
place and year of disc publication, ASIN code (usually listed on retail websites like
Amazon if not on the disc packaging).
Example:
4 Kenneth Bowser, audio commentary on Sullivan’s Travels (1941) (DVD,
Criterion Collection, USA, 2001) ASIN: B00005JH9C.
(e) Problems with English
There is a close relationship between quality of thought and excellence of expression.
One of your goals should be to develop the clarity, vividness and elegance with which
you use language as you increase the breadth of your knowledge and the depth of your
understanding. A first aim must be to ensure correct usage in spelling, punctuation and
vocabulary. Distinguished work presents interesting observations and arguments in a
precise and pleasing style, but poor English will affect the level of success you
achieve on the degree and will be detrimental to most job prospects. In addition,
special care should be taken with the spelling of titles, characters and authors of works
being discussed.
Do not rely on the ‘spell-check’ facility on your computer. These programmes
identify non-existent spellings but will fail to respond to typographical errors if the
mistake results in an existing word – for example if you type ‘way’ for ‘was’.
Students are expected to proof-read essays to eliminate such errors.
Whether or not your spelling is weak, use a dictionary regularly. An etymological
dictionary and/or a thesaurus can sharpen your style. Certain words are misused with
particular frequency. Before using the following, please check their meaning and their
grammatical usage: ‘disinterested’, ‘due to’, ‘refute’, ‘imbue’, ‘infer’, ‘quote’ ‘elide’.
Check also that you understand the difference between it’s (a contraction of ‘it is’
which you should avoid using in an academic essay) and its to indicate possession (as
in ‘the production has its problems’).
(i) Tutors will indicate where you have made errors of grammar, punctuation and
spelling. You are expected to find out why these are errors and not to repeat them. If
unsure, consult a grammar. Common faults in grammar include writing sentences
with no main verb in them (if you don’t understand what this means, consult a
grammar straight away), incorrect use of the colon and semi-colon and misuse of the
apostrophe.
(ii) Also bear in mind the fact that logically structured argumentation cannot be
properly achieved without dividing the different stages of your analysis into separate
paragraphs. If you end up writing long passages of text which continue without any
47
pause over several pages then you will fail to communicate your ideas effectively and
convincingly.
Further reading
Some of the information in this handbook is based on Joseph Gibaldi, MLA Handbook
for Writers of Research Papers (New York: Modern Language Association of
America, 1984), the MHRA Style Guide (London: Modern Humanities Research
Association, 2002), and R.M. Ritter, The Oxford Guide to Style (Oxford: Oxford
University Press, 2002). We strongly recommend that you consult these sources if you
have any further queries.
Vocabularies in film and television
Film and Television studies draw on many disciplines. Some of the language in your
required reading may initially be daunting. If you come across concepts you do not
understand, the following dictionaries are recommended:
Bottomore, Tom, Harris, Laurence, Kiernan, V.G., and Miliband, Ralph, A Dictionary of
Marxist Thought (Cambridge, Massachusetts: Harvard University Press, 1983).
Bullock, Allan, Stallybrass, Oliver, and Trombley, Stephen, The Fontana Dictionary of
Modern Thought (2nd edn.; London: Fontana Press, 1988)
Hayward, Susan, Cinema Studies: The Key Concepts (2nd edn.; London: Routledge, 2000).
Kuhn, Annette with Radstone, Susannah, The Women’s Companion to International Film
(London: Virago, 1990).
Stam, Robert, Burgoyne, Robert, and Flitterman-Lewis, Sandy (eds), New Vocabularies in
Film Semiotics: Structuralism, Post-Structuralism and Beyond (London: Routledge, 1992).
Williams, Raymond, Keywords: A Vocabulary of Culture and Society (London: Fontana
Press, 1976).
The glossaries in the following books are also useful:
Bordwell, David, and Thompson, Kristin, Film Art: An Introduction (7th edn.; London:
McGraw Hill, 2003).
Kawin, Bruce F., How Movies Work (Berkeley, Oxford: University of California Press,
1992).
Maltby, Richard, Hollywood Cinema (2nd edn.; Oxford: Blackwell, 2003).
APPENDIX 4
48
MA IN FILM AND TELEVISION STUDIES
MA FOR RESEARCH IN FILM AND TELEVISION STUDIES
DISSERTATION FORM
The following format is intended to focus your thinking about reading, research and
the presentation of your dissertation; it will also allow us to judge the feasibility of the
project. It is not a binding contract, but it is important to identify the aims and
objectives of your research early on.
The dissertation is 15,000 words long and you should identify a topic which can be
dealt with in that length. It is not a book nor a long essay and you should avoid
duplication of material from assessed essays in the dissertation.
You might begin your thinking with the following considerations:
1.
What are the central questions I want to address?
2.
What kind of answers am I looking for?
3.
What methods will help me find the answers?
4.
What resources will I need (libraries, archives, video collection,
staff expertise)?
5.
Am I sufficiently interested in the questions and answers to
sustain my interest over a prolonged period of study?
When each section of this document is handed in, it will be kept by the
supervisor; you must ensure that you keep a copy.
49
Section 1: PROPOSAL
This section will form the basis for the assignment of dissertation supervisors. It
should be completed after discussion with your personal tutor.
Your completed form must be handed in to the Director of Graduate Studies via
Tracey McVey by Thursday of week 2 of the spring term
1.
2.
3.
Your name:
Working title:
Identify in order of importance three central objectives that you want to
pursue in this research.
i)
ii)
iii)
4.
Brief description of topic area
(This section should be used to identify the core of your enquiry, to summarise
the overall scope of your topic and to provide some information on the
methods/approach/theory which you will be adopting):
5.
Initial resource implications:
a)
film/video
b)
reading
50
Section 2: THE DISSERTATION
This section should be given to your supervisor by the end of week 7 of the Spring
Term
1. The research objective(s)
2 Give an outline plan of the way in which you think the dissertation might be
organised, using headings and brief indications of content. (You should not assume
that the dissertation has to be divided into chapters. The headings are to focus your
mind on the structure of the dissertation. You do not have to fill in all spaces).
Introduction
Heading 1:
………………………………………………………………..
Contents:
………………………………………………………………..
………………………………………………………………………………..
Heading 2:
………………………………………………………………..
Contents:
………………………………………………………………..
………………………………………………………………………………..
………………………………………………………………………………..
Heading 3:
………………………………………………………………..
Contents:
………………………………………………………………..
………………………………………………………………………………..
51
……………………………………………………………………………….
Heading 4:
……………………………………………………………….
Contents:
………………………………………………………………..
………………………………………………………………………………..
………………………………………………………………………………..
Headding 5:
………………………………………………………………..
Contents:
………………………………………………………………..
………………………………………………………………………………..
………………………………………………………………………………...
Conclusion
3.
Identify the resources you will need to achieve your research objectives (e.g.
library, archive, viewing, interview etc.)
a)
………………………………………………………………………….
b)
………………………………………………………………………….
c)
………………………………………………………………………….
d)
………………………………………………………………………….
e)
………………………………………………………………………….
4.
Identify film and/or television programmes which you think will be necessary
for your research. Indicate availability in the video library.
………………………………………………………………………….
………………………………………………………………………….
………………………………………………………………………….
………………………………………………………………………….
5.
52
Identify key books and/or articles which you think will be necessary for your
research.
a)
available in Warwick library:
……………………………………………………………………………
……………………………………………………………………………
……………………………………………………………………………
……………………………………………………………………………
……………………………………………………………………………
b)
not available in Warwick library:
…………………………………………………………………………….
…………………………………………………………………………….
…………………………………………………………………………….
6.
Where do you propose to get material not available in the Warwick library?
(e.g. Inter-library load, British Film Institute)
…………………………………………………………………………….
…………………………………………………………………………….
…………………………………………………………………………….
7.
Schedule of research preparation. (this is to allow you to set yourself targets for
completion).
April ……………………………………………………………………………..
May
……………………………………………………………………………..
June
……………………………………………………………………………..
July
……………………………………………………………………………..
August - writing up
Signed
…………………………………………………….
Date:
…………………………………………………….
53
Schedule/Record of Meetings with Supervisor
1.
2.
3.
4.
5.
54
APPENDIX 5
MA IN FILM AND TELEVISION STUDIES
MA FOR RESEARCH IN FILM AND TELEVISION STUDIES
Submitting your Dissertation
You should submit TWO copies of your dissertation to the Film Studies office by
12.00 noon on Monday 31 August. If you post your dissertation, make sure that you
obtain a Certificate of Posting. One copy will be returned to you. The presentation
of your dissertation should conform to the description below. If you are not typing the
thesis yourself, make sure you find out from your typist when they need your script as
soon as possible and plan accordingly. Your dissertation must be accompanied by
a coversheet, available from the office or on the departmental website.
Parts of the Dissertation or Thesis
Title-Page
This should include the following information: the title of the work, the full name of
the author, the qualification for which the work is being submitted, the name of the
institution and the date (month and year) of submission.
Summary/Abstract
This follows the title-page and should be about 300 words, no longer than one
page. It should summarise the content of the thesis and the way in which it is
organised, and described the scope of the work, the research methodology used,
the principal divisions within the work and the conclusions reached.
Table of Contents
This should list, in sequence, with page numbers, all relevant subdivisions of the
thesis, including the title of chapters, sections and sub-sections, as appropriate; the
list of references; the bibliography film/tele/vide-ography; the list of abbreviations
and other functional parts of the whole thesis; any appendices.
List of Illustrations
If any full-page plates, diagrams, etc. are included in the work, they should be listed
with their page numbers after the table of contents.
Abbreviations
Abbreviations which are used frequently in the work should be listed, with a key,
immediately before the main text. It is important to remember to refer back to this list
the first time that an abbreviation is used in the text.
Text
The main text should be divided into appropriate sections and/or chapters, with subsections if necessary. The first section or chapter would generally be the introduction
to the work.
55
Notes
Notes should be numbered in a single sequence throughout each chapter (or section),
starting a new sequence for each chapter. Notes should be placed either at the foot of
each page, or immediately following the chapter that they refer to, or should be
grouped together by chapter or section at the end of the text, before the bibliography.
Appendices
Miscellaneous material such as lists, tables, copies of documents and other material,
too lengthy to be contained in the main text or the notes, should be added in the form
of appendices at the end, before the bibliography.
Bibliography
This should list all of the works referred to in the text and all those works consulted
which were of relevance in alphabetical order, with full publications details. Use the
guidelines to assessed essays and see the attached sheet.
Word Count
The dissertation is 15,000 words long (13,500 minimum, 16,500 maximum, 10 % each
way; excluding footnotes [of reasonably short length], appendices, filmography and
bibliography).
Presentation of the Dissertation or Thesis
Typing
Theses or dissertations should be typed on one side of A4 paper, using 12 pt typeface.
Margins
Margins should be 4cm wide on the left-hand side and 2cm on the other three sides.
Spacing
The main text, preface, contents page and appendices should be typed in double
spacing. The bibliography should have double spacing between items and single
spacing within items.
Pagination
Page numbers should begin on the first page of the main text, following the list of
illustrations or abbreviations and continue to the end of the work.
Headings
Sections and/or chapters should always begin on a new page, and their titles should be
centred and in capitals. Sub-sections should be differentiated from the main text by
using extra spacing.
Binding
Soft binding is required. This can be done via Warwick Print via Bookshop in Arts
Centre. (You should check how long it will take to bind the thesis – we recommend
you allow a week for it to be done).
Assessment of the Dissertation or Thesis
Each thesis or dissertation will be marked by two members of staff, one of whom will
normally be the supervisor. The nominated staff members will assess the thesis or
dissertation independently and then meet to agree on a provisional mark. Detailed
written feedback will be drafted by the supervisor, incorporating remarks made by the
other internal examiner. All theses or dissertations are sent to the external examiner,
who has the task of confirming or modifying the internally agreed marks.
56
APPENDIX 6
SCHOLARLY PRESENTATION OF ASSESSED WORK
It is important that your work should be presented in a properly scholarly manner. You
should therefore carefully check your essays and thesis or dissertation before
submitting them to ensure that they include the following:
 A bibliography including full publication details of all the books, articles and
other sources that you have used or cited in the course of preparing your work.

A filmography including details of director and/or production company and/or
country of origin and year of each film mentioned in your work.

In addition, all sources used must be referenced properly throughout the essay.
References must be correctly formatted.

Your work should be double-spaced. Essays can be printed on both sides of the
paper but the Dissertation should be single-sided. Pages should be numbered
and a font size of 12 used

You are required to provide a word count.

Submitted work should have been properly proof-read to eliminate errors in
editing/pasting and spelling and poor expression.
Failure to conform to these requirements will result in the deduction of marks.
57
APPENDIX 7
GUIDELINES TO ASSESSMENT CRITERIA:
MA in Film and Television Studies
MA for Research in Film and Television Studies
Assessment Criteria: Guidelines
The criteria of assessment always relate to the purpose and content of specific
assignments. However minimum requirements can be stated because there are some
qualities common to all acceptable work in our subjects. These are, primarily:
♦
Accuracy in accounts of texts and in references to historical events and
circumstances. These references and accounts display consistency and accuracy of
detail.
♦ Coverage - The work shows familiarity with the range of texts prescribed for
study and appropriate to the project.
♦
Understanding of texts and arguments, shown sometimes by restating or
summarising them in the writer’s own terms, and sometimes by offering the writer’s
own views and applications of them.
♦
Argumentation - The work presents the grounds of its understandings in
forms that allow the reader to engage with its claims.
♦ Relevance to the topics under discussion is made clear in the presentation of
particular arguments and observations.
♦
Expression is clear, and the writing is correct in its grammar, syntax and
spelling. Vocabulary is adequate to the needs of the discussion; the central terms are
used clearly and with consistency.
♦
Organisation within the prescribed length and format is effective; the
presentation has an appreciable shape and development.
♦
Scholarly presentation - The work is acceptable to the community of
scholarship. So that its data may be reliably checked its references are presented in a
consistent form. Sources are identified for all material used, whether through
reference, paraphrase, or direct quotation. Whenever material is quoted, quotation is
acknowledged in one of the received forms. (For details of scholarly conventions, see
‘guidelines for the writing of essays’ in this handbook.)
In excellent work:
♦
Coverage becomes enterprise in going beyond the prescribed texts or
previously explored instances to discover new material, or new relevance in familiar
material. The work has taken on a research dimension in which initiative and
imagination are combined with discipline and a consciously systematic investigation.
♦
Comprehension is developed so that the work makes individual use of
the concepts and arguments derived from the scholarly literature. It shows command
of the topics by its shrewd location and negotiation of conflicting positions; its
choice and development of examples shows the sharpness of its insight. It
demonstrates anawareness of the wider consequences of its own choices in
interpretation and evaluation.
58
♦
The argumentation remains clear and plausible but also achieves originality
through the vigour in its exploration of texts and topics. The work shows a grasp of
the interest of problems, an awareness of the range of ways in which its issues might
be negotiated, and both an ability to identify and a readiness to confront instances and
arguments that may pose difficulties for its own approaches.
♦ Correctness of expression gives way to eloquence. The critical vocabulary is
wide, varied and precisely nuanced. A balance is achieved between clarity and force
on the one hand and complexity, roundedness on the other. Concepts are presented
and ideas are expressed as plainly as their depth allows.
As a post-graduate student you will already have a first degree of class 2.1 or above or
the equivalent. To gain this degree, you will have produced a range of assessed work,
the majority of which has been graded from good to excellent. We expect all
successful graduate work to achieve at least a pass mark of 50 and take it for granted
that graduate work will be well written and presented. Additionally, there are further
qualities demanded of successful graduate work. These are:
♦
♦
♦
♦
♦
appropriate definition of topic. Most MA essays, reports and dissertations
will be on a topic devised by you in consultation with the course tutor. The
project should succinctly define and address the object of study, making clear
which methods will be used in pursuit of which ends. The reader should
understand what you are investigating and how you propose to do it.
thorough research. Your essay, report or dissertation should demonstrate
that you have researched and are familiar with the relevant literature, films and
television programmes for your topic. While the best graduate work aspires to
offer original insight and argument, all graduate work should display a firm
grasp of existing scholarship and audio-visual texts in the appropriate fields.
historical understanding. All scholarship is historical in the simple sense
that it takes place in time. It is important that work at graduate level displays
an understanding both of the relevant historical debates of the disciplines and
of the history of the media.
enterprise. It is often extremely time-consuming to locate copies of film
prints or television programmes. Similarly, assembling a bibliography and
delimiting a field of study can be difficult and frustrating. While your tutors
will help when they can, you should remember that the research skills in which
you are being trained demand autonomous and enterprising engagement with
these problems.
conformity to the scholarly conventions for the presentation of research.
All submitted work should display the accurate and consistent deployment of
the scholarly apparatus: footnotes, referencing, bibliography, filmography etc.
Please see guidelines in appendix three of his handbook.
In addition, we reproduce below a Faculty approved descriptive marking schema,
which you may find useful in understanding departmental and Faculty standards.
59
Faculty Approved Descriptive Marking Scheme for Taught MAs in the Arts
80+ (Distinction): Work which, over and above possessing all the qualities of the
70-79 mark range, indicates a fruitful new approach to the material studied, represents
an advance in scholarship or is judged by the examiners to be of a standard
publishable in a peer-reviewed publication.
70-79 (Distinction): Methodologically sophisticated, intelligently argued, with some
evidence of genuine originality in analysis or approach. Impressive command of the
critical/historiographical/theoretical field, an ability to situate the topic within it, and
to modify or challenge received interpretations where appropriate. Excellent
deployment of a substantial body of primary material/texts to advance the argument.
Well structured, very well written, with proper referencing and extensive
bibliography.
60-69: Well organised and effectively argued, analytical in approach, showing a
sound grasp of the critical/historiographical/theoretical field. Demonstrates an ability
to draw upon a fairly substantial body of primary material, and to relate this in an
illuminating way to the issues under discussion. Generally well written, with a clear
sequence of arguments, and satisfactory referencing and bibliography.
50-59: A lower level of attainment than work marked in the range 60-69, but
demonstrating some awareness of the general critical/historiographical/theoretical
field. Mainly analytical, rather than descriptive or narrative, in approach. An overall
grasp of the subject matter, with, perhaps, a few areas of confusion or gaps in factual
or conceptual understanding of the material. Demonstrates an ability to draw upon a
reasonable range of primary material, and relate it accurately to the issues under
discussion. Clearly written, with adequate referencing and bibliography.
40-49(Fail/Diploma): This work is inadequate for an MA award, but may be
acceptable for a Postgraduate Diploma [although some departments may wish to set
the pass mark for a diploma at a level higher than this]. Significant elements of
confusion in the framing and execution of the response to the question. Simple,
coherent and solid answers, but mainly descriptive or narrative in approach. Relevant,
but not extensive deployment of primary material in relation to the issues under
discussion. Occasional tendency to derivativeness either by paraphrase or direct
quotation of secondary sources. Some attempt to meet requirements for referencing
and bibliography.
39-(Fail): Work inadequate for an MA or Diploma award. Poorly argued, written
and presented. Conceptual confusion throughout, and demonstrates no knowledge of
the critical/historiographical/theoretical field. Failure to address the issues raised by
the question, derivative, very insubstantial or very poor or limited deployment of
primary material.
60
QAA Framework for Higher Education Qualifications
The national framework for higher education qualifications may also help you to
understand the standards in relation to which graduate work is assessed, and can be
found in full at
http://www.qaa.ac.uk/academicinfrastructure/FHEQ/EWNI/default.asp
In brief:
Master’s level
Much of the study undertaken at Master’s level will have been at, or informed by, the
forefront of an academic or professional discipline. Students will have shown
originality in the application of knowledge, and they will understand how the
boundaries of knowledge are advanced through research. They will be able to deal
with complex issues both systematically and creatively, and they will show originality
in tackling and solving problems.
They will have the qualities needed for employment in circumstances requiring sound
judgement, personal responsibility and initiative, in complex and unpredictable
professional environments.
Doctoral level
Doctorates are awarded for the creation and interpretation of knowledge, which
extends the forefront of a discipline, usually through original research. Holders of
doctorates will be able to conceptualise, design and implement projects for the
generation of significant new knowledge and/or understanding.
Holders of doctorates will have the qualities needed for employment requiring the
ability to make informed judgements on complex issues in specialist fields, and
innovation in tackling and solving problems.
International Students
Understanding different national conventions for the assessment of academic work
can be one of the more challenging aspects of international study, along with learning
appropriate behaviour in seminars and lectures. We think that this understanding
comes best through practice, and therefore we will request a short essay (from all
students) very soon after the beginning of the course which will be marked promptly.
The mark for this essay will not be included in your final MA assessment, but it will
be marked according to the same criteria. After you have received this essay back,
you may wish to discuss British assessment criteria with your personal tutor. The
International Office holds standardised data for the translation of British grades into
US grades. The department holds Japanese language information ab out the
differences of the two systems. We are keen to expand our information of this type,
and so if you are an international student who feels, towards the end of the MA, that
you could write something for your successors from your own country, please see the
Director of Graduate Studies - we would be most grateful.
61
Numerical grades
Evidently the above qualities are attained to differing degrees. Some work submitted for
assessment has all the above strengths and no significant weaknesses; it makes a distinctive
contribution to our fields of scholarship. More often excellent work shows particularly fine
quality in some rather than all of the above respects, and a judgment has to be made of the
relative weight of its most and least impressive aspects. It is in order to lessen the risk of
arbitrariness in making these assessments that the final determination of all grades is made
through the system of double marking and the consensus reached at the examination
boards with the assistance of external examiners.
A numerical grade is necessarily a blunt way of stating the outcome of the process of
judgement, and of relating very different achievements to one another qualitatively. One
essay might be awarded a mark of 65% because its generally competent discussion,
with no serious defects, is enlivened by passages of particularly stimulating insight;
another might receive the same mark in recognition of a strikingly original approach with
minor flaws or with passages of clumsy argument. The percentage mark represents an
attempt, guided by experience and consultation, to aggregate the merits and weaknesses of
your work in fair comparison with the achievements of others.
The university does not allow students to challenge the academic judgement of the examiners
once a numerical grade has been given for a piece of work. The only ground for any
questioning of a grade is if there is evidence of irregularity in the procedures by which the
mark was determined.
62
APPENDIX 8
RESEARCH GRADUATE STUDENTS’ RESEARCH REVIEW PROCESS (MA BY
RESEARCH, MPhil, PhD)
The work of all research students is monitored departmentally through a number of
mechanisms. These are indicated below as part of a programme also intended to foster
contact, support an exchange of ideas between graduates in the department.
FIRST YEAR
Autumn Term Week 1: Arts Faculty Graduate Induction
Department Graduate Induction
Autumn Term Week 2:
Methods Reading Group Introductory Meeting:
Research students attend the Methods Reading Group (convened in 2014-15 by Stella
Bruzzi). This is compulsory for first year research students and optional for those in
subsequent years. See the departmental website for details.
Spring Term, Weeks 9-10: Work-in-Progress Presentations
The work-in-progress seminar is attended by all Film and Television MA students and all
first year research graduate students. Each first year research student gives a 20 minute
presentation on their research, indicating the focus of their thesis, methodology, its relation to
relevant fields, the grounds for the selection of the corpus of works studied, problems
encountered and issues raised; this should include video or other illustration and an
indicative, correctly presented bibliography and filmography should be supplied. The twenty
minutes must be rigorously adhered to. This is followed by discussion. Each presenting
student’s supervisor and one other member of staff are present.
Summer Term, Weeks 2-6: Work-in-Progress Presentations
All graduate students continue to attend these sessions which are led by MA students, with
staff present.
Weeks 10 – 11: Research Review Panels
All candidates’ supervisors submit an independent report on progress. Each candidate
submits:




A half page statement of the organising question or focus of thesis
and the area covered;
A summary draft structure, with appropriate word counts
indicating what has so far been accomplished (in terms of research and writing), and a
plan of future work with approximate timings (no more than one page in all);
A draft review of the literature (maximum 3000 words);
A draft chapter or section of chapter (maximum 5000 words –
where a section only is supplied, summary structure of chapter should be included).
63




This is read by a Research Review Panel constituted of two members of staff other
than the candidate’s supervisor. The panel meet with the student (whose supervisor is
in attendance for the purposes of subsequent feedback – s/he will not speak during the
meeting with the student).
The panel may recommend:
Upgrade from MPhil to PhD
Submission of a research report to a Research Review Board in
year two (which the student does not attend)
A Research Review Panel in year two
Other courses of action
SECOND YEAR
Autumn Term, Week 1:
Department Graduate Induction Lunch
Subsequent weeks: optional attendance at Methods Reading Group (Stella Bruzzi)
Summer Term, Weeks 10-11: Research Review Boards
Depending on the outcome of 1st year Research Review Panels EITHER, the student and
supervisor submit independent reports on progress (maximum one page) and the student also
submits a schedule for completion and an abstract of the thesis. The report should reflect on
the conceptual issues raised by the thesis, and not simply present a list of the year’s activity.
All reports are discussed by a Research Review Board consisting of two members of staff,
plus the supervisor. Feedback is communicated to the student via her/his supervisor.
OR
Research Review Panels
The supervisor submits and independent report.
The student submits

A half page statement of the question or focus of thesis and the
area covered, with indication if there have been any changes from previous year;

A response to any specific criticisms raised in the previous year
(no more than a page);

A summary structure, indicating what has so far been
accomplished (in terms of research and writing; exact quantities should be indicated)
and a plan of future work (no more than two pages in all);

A draft chapter or section of chapter (maximum 5000 words –
where an extract only is supplied, summary structure of chapter should be indicated).
This is read and discussed with the student by a review panel constituted as in Year One.
THIRD YEAR
Autumn Term, Week 1:
Department Graduate Induction and Lunch
Summer Term, Weeks 10-11: Research Review Board or Research Review (as required by
Second Year Board)
64
FOURTH YEAR (Part-time students only)
Autumn Term, Week 1:
Department Graduate Induction and Lunch
Summer Term, Weeks 10-11: Research Review Board or Research Review (as required by
Third Year Board)
FIFTH YEAR (Part-time students only)
Autumn Term, Week 1:
Department Graduate Induction and Lunch
Summer Term, Weeks 10-11: Research Review Board or Research Review (as required by
Fourth Year Board)
65
APPENDIX 9
DEPARTMENT OF FILM AND TELEVISION STUDIES
RESEARCH DEGREE ETHICS REVIEW DOCUMENT
If your research will involve human participants (e.g. through the use of oral
history, audience research or production interviews), this form should be
completed, in consultation with your supervisor, and passed to the Director of
Graduate Studies for approval, before your fieldwork begins.
The Department and the University are committed to ensuring high
standards of postgraduate research. To ensure that research projects comply
with the University’s ethical guidelines, all students who wish to undertake
research involving human participants, their data and/or tissue (this may also
include research involving the data of deceased participants) must obtain
appropriate ethical approval of their projects. Normally, successful completion
of the Department’s Ethics Review at the start of study will confirm such
approval. In some instances, however, additional approval must be sought for
students’ research. Specifically 1) any research involving NHS
patients/staff/facilities/participants recruited through NHS resources must be
approved by an NHS Local Research Ethics Committee or Multi-centre
Research Ethics Committee; 2) research projects for which the funding body
requires a full ethical review above and beyond the parameters of the normal
Departmental review; 3) research projects of sufficiently high risk to participants
or the student or outside the scope of the normal ethical expertise in the Film and
Television Studies Department (as determined by the Director of Graduate
Studies or Head of Department).
1) Your name: ........................................................................
2) Degree sought: …………………………………………………………
3) Title of dissertation: .........................................................................
4) Ethical considerations: briefly detail the ethical considerations entailed by
this research project and the mechanisms that will be used to address them.
This section of the form must not be left blank:
5) Risks to researcher: Please identify any risks to the researcher posed by
the project, referring to the University Guidance on Ethical Practice for
information on research risks
(http://www2.warwick.ac.uk/services/rss/services/ethics/). If risks are identified,
indicate clearly how such risks will be minimised and/or monitored.
66
If your research project does not entail live human participants, please move directly
to the Signature Section. If your project does entail live human participants, please
complete all remaining sections of the form.
6) Recruitment of Participants: Please a) specify how potential participants will be
identified, b) identify your inclusion/exclusion criteria, explaining the purpose behind
those criteria, and c) confirm that in advertising for participants, you will not
overstress payments or other inducements to take part.
7) Informed consent: Except in the instance of questionnaires where returning a
completed questionnaire is considered to signal consent, written informed consent
from participants is required. This consent, which includes research participants
involved in audio/visual recording, must conform to the University’s Guidelines on
Ethical Practice. Please indicate below the process by which you will ensure that fully
informed consent is obtained, detailing when appropriate any additional assent
procedures that will be used where children are involved and how informed consent
will be secured where an influential relationship exists between the
researcher/recruiter and his/her potential participant.
8) Vulnerable participants: If your research involves vulnerable participants, please
note why their inclusion in your study is requisite and how you will protect these
participants’ rights.
9) Incentives/Compensation: If travel/out of pocket expenses will not be paid to
participants, this circumstance must be explained clearly in advance to participants.
Please note here any payments that will be made to participants to reimburse for
travel/out of pocket expenditure and fully justify any additional payments that will be
made to participants.
10) Participant Benefit/risk: Please highlight any possible benefits to the
participants and any potential harm/risks to participants that may ensue from
participation in your study. Where potential risks/harm have been identified, please
indicate what steps will be taken to minimise/monitor them.
11) Data protection: In accordance with the Data Protection Act, please specify how
you will ensure the confidentiality of information that would identify particular
articipants, and what action may be taken should confidential information be
discovered that would cause concern.
12) Data Storage: Please confirm that original data (including signed consent forms
and copies of relevant documentation) will be kept in a secure location, accessible for
inspection if required for at least 10 years after completion of your degree.
Signature Section:
Signature of Research Student
Date ................... .
Signature of Supervisors
Date ................... ..
Signature of DGS ............................................................. Date ....................
67
APPENDIX 10
MA IN FILM AND TELEVISION STUDIES
CONVENTIONS FOR THE AWARD OF THE MA IN FILM AND
TELEVISION STUDIES
1.
Candidates should have attended and completed the prescribed modules of
study, and submitted required written work by the due dates.
2.
Candidates are required to submit:
- Three 5,000 word essays, one for each optional module (30 credits each),
plus 3 x 2000 word assignments for the core module (30 credits)
- A dissertation of 15,000 words (not exceeding 16,500 words) (60 credits)
3.
To be awarded the MA candidates should achieve the equivalent of an upper
second at undergraduate level in all pieces of work (numerical grade 50 or
above).
(i)
Candidates who fail to achieve this standard in one essay may be
awarded the MA.
(ii)
Candidates who fail to achieve this standard in the dissertation may
either:
a)
be viva’ed on the dissertation if it is considered to approach the
required standard;
or
b)
be offered the opportunity to re-submit the dissertation within a
specified period;
or
c)
be deemed to have failed.
(iii)
Candidates who fail to meet this standard in two essays, but pass the
dissertation, may be required to re-submit at least one essay within a
specified period.
(iv)
4.
5.
The above decisions may be made subject to the candidate making
corrections in the presentation of any or all of the work, as instructed
by the exam board.
Candidates who achieve an average of marks at 70 or above will be
awarded the MA with distinction.
Candidates who reach an appropriate standard but who are deemed by the
Board of Examiners not to have reached the standard required for the award
of MA in Film and Television Studies may be considered for the
award of Postgraduate Diploma in Film and Television Studies (in
exceptional circumstances, candidates who have not submitted the
dissertation may be considered for this award).
68
MA FOR RESEARCH IN FILM AND TELEVISION STUDIES
CONVENTIONS FOR THE AWARD OF THE MA FOR RESEARCH IN FILM
AND TELEVISION STUDIES
1.
Candidates should have attended and completed the prescribed modules of
study, and submitted required written work by the due dates.
2.
Candidates are required to submit:
- Three 5,000 word essays for the taught modules (30 credits each)
- One independent study essay of 5,000 words (30 credits)
- A dissertation of 15,000 words (not exceeding 16,500 words) (60
credits)
3.
To be awarded the MA candidates should achieve the equivalent of an upper
second at undergraduate level in all pieces of work (numerical grade 50 or
above).
(i)
(ii)
Candidates who fail to achieve this standard in one element other
than the dissertation may be awarded the MA.
Candidates who fail to achieve this standard in the dissertation may
either:
a)
be viva’ed on the dissertation if it is considered to approach the
required standard;
or
b)
be offered the opportunity to re-submit the dissertation within a
specified period;
or
c)
be deemed to have failed.
(iii)
(iv)
Candidates who fail to meet this standard in two element other than the
dissertation, but pass the dissertation, may be required to re-submit at
least one element within a specified period.
The above decisions may be made subject to the candidate making
corrections in the presentation of any or all of the work, as instructed
by the exam board.
4.
Candidates who achieve an average of marks at 70 or above will be
awarded the MA with distinction.
5.
Candidates who reach an appropriate standard but who are deemed by the
Board of Examiners not to have reached the standard required for the award
of MA for Research in Film and Television Studies may be considered for
the ward of Postgraduate Diploma in Film and Television Studies (in
exceptional circumstances, candidates who have not submitted the
dissertation may be considered for this award).
69
APPENDIX 11
Sick Certification for Students
GP practices may be requested to issue a signed medical certificate (Appendix 1) for students registered
with their practice. The student must have seen the doctor or practice nurse during the period of illness.
The GP practice may charge the student for issuing a note. Notes are required in the following
circumstances:


the student is absent from formal examinations of the University because of illness
the student seeks an extension to a submission deadline for a piece of assessed work that
contributes to his/her final award or is absent from such an assessment due to illness exceeding
seven consecutive days

the student seeks an extension to a submission deadline for a piece of assessed work which
does not contribute to his/her final award due to significant illness exceeding seven
consecutive days. We need a written request from the student’s Tutor.

the student is absent from classes for an extended period due to illness and their Tutor requests
the doctor to provide a medical certificate. After the written request from the tutor normally
the certificate will be issued to the student and it will be his/her responsibility to send it on to
the tutor.

there may be occasions, due to repeated unexplained absences, in which the student is required
to submit a sick note if ill for shorter periods. The Tutor will be expected to request such a
certificate from the GP practice. After the written request from the tutor normally the
certificate will be issued to the student and it will be his/her responsibility to send it on to the
tutor.

when a student has been advised to withdraw from University on medical grounds
Self-certification should be adequate in all other situations than those above, including short absences
from compulsory elements of the curriculum. This arrangement mirrors the system for persons in
employment. It is expected that Departments accept the verbal notification of sickness from a student
for up to three days, students provide a self-certificate of illness for four to seven days of illness and a
doctor’s medical certificate is required for more than seven days of illness which prevents students from
attending lectures or carrying out course work or assignments.
If the University requires a self-certificate of illness (see appendix 2) from a student, this form will
continue to be available to collect from Tutors / Departmental Heads / the Counselling service or the
University Health Centre. In due course it will also be available on the web site of the University of
Warwick Health Centre (http://www.uwhc.org.uk)/ This self-certification will be the normal process if
classes are missed, extensions to deadlines for routine course work are requested by the student or for
other reasons for which the University require a medical note. The student completes the form and
gives it to the appropriate person at the University.
All certificates or letters are issued only with the consent of the patient. It is not possible for a
department to have any enquiries about a student answered unless the student gives informed consent.
70
University of Warwick
Coventry CV4 7AL
CONFIDENTIAL
PLEASE USE BLOCK LETTERS
Medical Certificate for Conditions affecting Study and/or Examinations
Students whose studies/ examinations are adversely affected by any medical problem should ask the doctor whom they consult to
complete this medical certificate. Sections 1-3 should be completed by the student before giving it to the doctor. Sections 4
onwards, as appropriate, should be completed by the doctor. The doctor should attempt to quantify the likely effects of the
illness on the student’s work. All information given will be treated as confidential to the appropriate Board of Examiners and
will help the letter decide what compensation should be made in its assessment of the student’s performance.
1 PERSONAL DETAILS OF STUDENT
Full Name:
University Student Number:
Course:
Year of Study:
2 NATURE OF ABSENCE Please indicate the nature of absence to which this certificate relates:
- the title(s) and dates of any formal Written Examinations which have been
missed / affected:
- the title(s) of the assessment(s) missed or for which an extension to the
submission deadline is sought:
3 PERIOD OF SICKNESS
First day of sickness
Last day of sickness if known
NEXT SECTIONS TO BE COMPLETED BY THE DOCTOR:
4. BRIEF DESCRIPTION OF STUDENT’S MEDICAL PROBLEM:
5.
PERIOD DURING WHICH THE STUDENT WAS OR IS LIKELY TO BE
AFFECTED: From:
To:
6. In your opinion would the problem normally
preclude - attendance at a written or oral
examination? Yes / No - attendance at classes? Yes /
No
7. If your answer to the previous question is no, please indicate (by ringing the appropriate entry) whether you consider the
student=s ability to study would likely to be:
a) seriously impaired b) somewhat impaired c) slightly impaired d) unimpaired
8. Date of consultation with Doctor / Practice Nurse
9. Any other comments:
71
Name of Doctor: .........................................................................................
Official stamp of Medical Practice:
Signature: .........................................................................................
Date: ...........................................
University of Warwick
Coventry CV4 7AL
CONFIDENTIAL
PERSONAL SICKNESS CERTIFICATE
PLEASE USE BLOCK LETTERS
1 PERSONAL DETAILS
Surname:
............................................................................................................. …
First Name ……………………………………………………………….
Course ……………………………………………………………………...
Year of Study: ………………… University Student Number ……………………..
2 NATURE OF ABSENCE
Please indicate the nature of absence because of illness to which this certificate relates:
Assessment other than
Formal Written
Examinations ................................
Attendance at
Compulsory
Classes ...................................
Other
Absence
Please also specify where appropriate:
♦
the title(s) of the assessment(s) missed or for which an extension to the submission deadline is sought:
the title(s) and date(s) of any classes from which you have been absent
3
PERIOD OF SICKNESS
From ...................................................... (First day of sickness)
To:
(Last day of sickness if known)
4 DETAILS OF SICKNESS/INJURY
I
was
unfit
to
attend University for the following reason(s):
5 DECLARATION
I declare that the information given above is factually correct.
Signature: ................................................................................................ Date
NB Any students found to have submitted false information on this form or in connection with the
self-certification process may be subject to the University Disciplinary Procedures.
THIS FORM SHOULD BE COMPLETED ON THE FIRST DAY THAT YOU RETURN TO UNIVERSITY AND
SUBMITTED IMMEDIATELY TO THE RELEVANT DEPARTMENTAL OFFICE.
72
Appendix 12
UNIVERSITY OF WARWICK
Department of Film and Television Studies
AUTHORISATION OF TIME SPENT AWAY FROM UNIVERSITY
Any M.Phil/PhD student proposing to spend one month or more away from the
University must complete this form and submit it to their supervisor at least ONE
MONTH prior to their departure
NAME …………………………………………..
DATE …………………
LENGTH OF TRIP/ABSENCE …………………………………………………..
PURPOSE OF TRIP/ABSENCE ……………………………………………........
……………………………………………………………………………………..
……………………………………………………………………………………..
……………………………………………………………………………………..
……………………………………………………………………………………..
SUPERVISOR’S COMMENT…………………………………………………….
……………………………………………………………………………………..
……………………………………………………………………………………..
……………………………………………………………………………………..
……………………………………………………………………………………..
……………………………………………………………………………………..
SIGNED ………………………………………….
DATE …………………
D.O.G.’S DECISION
……………………………………………………………………………………..
……………………………………………………………………………………..
73
Appendix 13
UNIVERSITY OF WARWICK
Department of Film and Television Studies
APPLICATION FOR POSTGRADUATE FUNDING FOR
CONFERENCE OR TRAVEL
Students registered for M/Phil/PhD may request up to £200 from the Department over the
course of their period of study to support research-related travel or attendance at a conference.
All requests must be submitted to the supervisor so that the can be forwarded to the Head of
Department AT LEAST ONE MONTH prior to the event.
NAME ………………………………………………………. DATE …………………….
AMOUNT REQUESTED …………………………………………………………………..
PURPOSE OF EXPENDITURE (Supply details, including dates):
SUPERVISOR’S COMMENT:
SIGNED ……………………………………………………… DATE ……………………
HEAD OF DEPARTMENT’S DECISION: