FILM AND TELEVISION STUDIES
UNDERGRADUATE STUDENT HANDBOOK
BA IN FILM AND LITERATURE
BA IN FILM STUDIES
BA IN FILM WITH TELEVISION STUDIES
2014-2015
Table of Contents
Page Nos.
1. The Department: General information
- Location
- Members of Staff
- Communications
- Personal Tutors
- The Student-Staff Liaison Committee (SSLC)
- Student mentor scheme
- Warwick Awards for Teaching Excellence (WATE)
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5
6
7
9
9
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2. Resources
(i) Departmental:
- Undergraduate common room
- Films and film projection
- DVD/Video screenings
- Booking departmental rooms
- Health and safety
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10
10
10
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(ii) Outside the department:
- The Library
- DVD/Video collection
- IT/computer facilities and training for students
- Cinema provision on campus
- The Language Centre
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13
14
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3. Curriculum
- BA in Film and Literature: First year modules
- BA in Film Studies: First year modules
- Assessment
- Essay submission
- Essay extensions
- Essay deadlines
- Examination information
- The BA in Film and Literature: Second year modules
- The BA in film Studies: Second year modules
- Option information
- Dissertations
- Assessment
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16
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20
21
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25
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Curriculum ctd..
- Essay submission
- Essay extensions
- Essay deadlines
- Examination information
- The BA in Film and Literature: Third year modules
- The BA in Film Studies: Third Year modules
- Film Options
- Postgraduate Study
- Assessment
- Essay submission
- Essay extensions
- Essay deadlines
- Examination information
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41
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4. Teaching and Learning
- Attendance and absences
- Monitoring Points
- Mobile phone policy
- Screenings, lectures, seminars and individual study
- Reading and viewing week
- Timetable
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44
46
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5. The University: summary of useful services
- Student Support Services
- University Senior Tutor
- Residential Life Team
- International Office (Immigration Team)
- The Senior Tutor and Counselling Service
- Disability Services
- Mental Health Team
- University Health Centre
- Chaplaincy
- Student Funding
- Security
- Student Careers and Skills
- The Students’ Union
- Film Making
- Lord Rootes Memorial Fund
- Sexual and Racial Harassment
- The University Website
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Appendix
1.
2.
3.
4.
5.
6.
7.
Dates of terms
Guidelines for the writing of essays
Exam writing skills
Third Year dissertation guidelines
Assessment criteria: guidelines
Sick certification for students
Assessed work cover sheet
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56
66
70
72
75
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Cover still: Louis Jourdan in Letter From an Unknown Woman (Max Ophüls, USA, 1948).
Courtesy BFI.
The information in this handbook 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 university regulations. In the event of
uncertainty, regulations take precedence.
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1. THE DEPARTMENT OF FILM AND
TELEVISION STUDIES
The BA in Film and Literature and the BA in Film Studies are administered by the Film and
Television Studies department, although modules are taught by staff from Film and
Television Studies, English, French and German. This means that most administrative matters
are handled by Film and Television Studies and all your personal tutors are from this
department. The information below centres therefore mostly on Film and Television Studies,
though at appropriate points references are made to matters that affect the literature
departments (see, in particular, ‘staff’ and ‘curriculum’ below).
Location
The Film and Television Studies department is situated on the ground and first floors of an
annexe to 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 A1.12 and A1.28
on the first floor of the building.
Common Room facilities
Within the Film and Television Studies annexe, you may congregate in room A1.23 in
between classes when this room is not in use for seminars or meetings.
This public space is for your own use and enjoyment - use it considerately, and remember to
leave it clean and tidy. (If these reasonable rules are not followed, the use of this space may
be withdrawn.) The whole of Millburn House is a no-smoking area.
The nearest outlet for food and drink is located in University House.
The Departmental Office (A0.13)
The secretary and Administrator, Ms Tracey McVey, in room A0.13, plays a key role in
answering 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 8.15 – 6.15
Tuesday 8.00 – 4.00
Wednesday 8.00 – 4.00
Thursday 8.15 – 6.15
Friday 8.00 – 12.30
The Film Booking Office and Departmental Secretary (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. Adam is responsible for
collecting essays in addition to managing the teaching collection, and arranging video/DVD
screenings.
Adam’s office hours are:
Monday – Tuesday 8.30 – 5.30
Thursday – Friday 8.30 – 5.00
There are two display boards in the corridor outside the office, with information of a general
nature concerning events in the field of Film and Television Studies (e.g. conferences).
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Watch general noticeboards, in the corridor, for announcements of open lectures by visiting
speakers to the department or the university (also posted on
http//www2.warwick.ac.uk/fac/arts/film/researchnews/seminars/)
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
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 (www2.warwick.ac.uk/fac/arts/film/staff).
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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: Emails, Noticeboards, Pigeonholes, Office
Hours.
Module information
Noticeboards - Module information, timetable and, at the appropriate times, lists of essay
titles are displayed on noticeboards in the corridor in front of the departmental office (A0.13).
There is one board for each year and a general one with information concerning all BA
students. Keep your eyes open: information soon gets out of date. Tutors may display
notices on these boards concerning your modules.
Student pigeonholes – These are also situated in the corridor in front of 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 your tutors. Get into the habit of
checking your pigeonhole regularly.
For matters affecting large groups, notices are posted on the boards opposite the pigeonholes,
on the noticeboard in A1.23, or notes are put in the student pigeonholes.
Email - All staff will use email as an essential mode of communication with students; for
example, to alert them to additional module information. It is imperative that you check the
Warwick email account which the university provides you with regularly. There will be no
allowances made for students who do not check their Warwick emails regularly, and the
consequences of failing to act on information or requests sent by email could be serious.
Website – We use the website to advertise departmental events, and to give information
about our courses/modules.
Contacting tutors
There will also be times when you will need to make contact with your academic tutors, or
personal tutor (for the role of the personal tutor, see below). The most important form of this
contact, and generally the most desirable, is face to face meetings. The simplest way of
seeing your tutors is in office hours, and all tutors regularly post a signup list on the board by
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 email your tutor or leave them a
note asking for an appointment and indicating how best to contact you.
Staff pigeonholes: all tutors have pigeonholes in the departmental office where notes can be
left for them.
Email: individual tutors have various views as to whether they wish to be contacted in this
way. 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 view posted on their office door or on module hand-outs.
When emailing tutors bear in mind the following:
1. Emails are sometimes printed out and placed in student files. If you do not want an email
to be filed, indicate this by putting the word “confidential” in the subject box.
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2. Please be respectful of staff time and do not send copies of the same query by email to
several members of staff.
3. Staff in the department will not answer queries about examinations by email. If you have
such a query, make an appointment to see the member of staff in charge of the module.
4. The department will not send out examination results by email, unless there are
exceptional circumstances.
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.
Do not expect staff to be necessarily available on a drop-in basis. In an emergency, it might
be advisable to try and get an appointment through the departmental administrator.
Departmental registration form: you will fill in one of these forms at the beginning of
term. Please remember to keep the information updated; any change of details to be given to
the departmental administrator.
Personal Tutors
Every student is assigned a personal tutor. The list of personal tutors is displayed on the
notice board by the pigeonholes. Personal Tutors are academic members of staff based in
academic departments, assigned to each student on arrival at Warwick. The role of a personal
tutor is to provide academic advice to personal tutees on their academic and personal
development including feedback on their academic progress; to give students help and advice
about pastoral/non-academic matters and signpost students to Student Support Services for
further professional assistance; and to assist students with induction into university life.
Personal tutors are the first point of contact for help with concerns about academic progress;
study problems; enquiries about course changes; general concerns about university life; and
financial issues. The department also has a Senior Tutor with whom students can also discuss
issues. On occasion your personal tutor may refer you to the Senior Tutor.
The Department’s Senior Tutor in 2014/15 is Ed Gallafent. He has overall responsibility for
the operation of the personal tutor system in the Department. You should consult him if you
have queries about how the personal tutor system works, or if for any reason you wish to
change the personal tutor assigned to you (you have the right to make such a request). He also
consults with the University Senior Tutor, Stephen Lamb, regarding sources of help and
support for students outside their academic department.
You must contact Ed Gallafent if you need to apply for an extension to a deadline for an
assessed essay in Film Studies. In his absence, the head of department, Alastair Phillips, can
also grant extensions. Your personal tutor (and module tutors) can support such requests, but
cannot grant extensions.
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 regularly 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 parttime work for instance) and after you leave. It is therefore important that you get to know
each other.
Your personal tutor will arrange certain formal meetings with you, at least once per term:
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(i) There will be a meeting around the beginning of the Autumn Term to meet your personal
tutor (1st years) or to catch up after the summer.
(ii) Your personal tutor will expect to see you within the first three weeks of the Spring Term
to discuss the content of progress reports written by your module tutors in the Autumn Term.
(iii) Your personal tutor will also expect to see you within the first three weeks of the
Summer Term to discuss Spring Term progress reports and (for 1st and 2nd years) option
choices for the following year.
1st and 3rd year students will also be expected to meet with their personal tutors in week 10
of the Summer Term to receive and discuss a full breakdown of their exam results. Please
make sure you respond to all requests to see your personal tutor; failure to attend meeting (i),
(ii) or (iii) will incur one or more Missed Monitoring Points (see section 4).
You are welcome to consult your personal tutor at any other time in the academic year by
making an appointment. Students may sign up to see any staff member (not just their
personal tutor) in office hours. It is essential that you inform your personal tutor of any
extenuating circumstances affecting your ability to attend and study. Extenuating or
mitigating circumstances are those events which have had a detrimental effect on your study,
to the point that it is in your interest to draw the department’s attention to them and ask for
them to be considered in mitigation of poor performance. Such circumstances include (but
are not limited to) illness, both bodily and emotional; the severe illness or death of a close
family member; a shocking or traumatic personal experience. In addition, sudden, unexpected
changes in family circumstances might affect your ability to make academic progress as a
consequence of their demonstrable emotional impact upon you, and may also be considered
as mitigation.
We aware that in some cultures it is considered shameful or embarrassing to disclose the
details of these kinds of circumstances to those outside one’s family. This is not the case in
the prevailing UK culture and you should be aware that the department and the University are
fully supportive of students in difficult circumstances and want to assist if at all possible. 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 (see section below), the Students’
Union, or a counsellor for initial, informal advice.
Clearly, though, in order for your circumstances to be considered as mitigating by the
department, they must be conveyed formally to someone in the department (a personal tutor,
the Senior Tutor, Director of Undergraduate Studies, or a course/module convenor). The
University expects that you will discuss your circumstances before Exam Boards meet, so
that they may be taken into account in good time. You should be aware that, in the event you
feel you need to appeal the outcome of an Exam Board, offering extenuating or mitigating
circumstances at that point will need to be accompanied by a good reason why you withheld
the information earlier. Without wanting to invade your privacy, the University does expect
that you bring such circumstances to the department’s attention in a timely manner, despite
the discomfort you might feel in so doing. Failure to disclose such circumstances at a time
when you could have done so may subsequently be problematic. The department will do all
it can to support you in difficult situations.
Your tutor’s office hours are also there for you to discuss any academic concerns throughout
the year (e.g. to seek advice about how you might address recurrent weaknesses in your
essays identified by module tutors). Please note, however, that your personal tutor will not
normally comment on draft versions of essays.
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Further information about the role of the personal tutor and the responsibilities of personal
tutees is explained at http://www2.warwick.ac.uk/services/tutors/personaltutors/functions/
Student-Staff Liaison Committee (SSLC)
The Student-Staff 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 is a formal means of gauging student
opinion on academic matters. As a rule, student representatives should seek the opinion of a
significant number of students on issues to be discussed. These issues will vary greatly, but
recurrent themes include: syllabus, examinations and assessment, library provision,
computing and welfare issues.
The SSLC consists of student representatives from each degree course in every year of study
and three members of staff (the Head of Film and Television Studies, the Director of
Undergraduate Studies, who liaises with the departments teaching the Literature modules
[English, French, German], and the Subject Specialist Librarian). The SSLC meets twice a
term to consider matters brought to its attention by students or staff; issues are solicited by
means of short meetings at the end of a lecture and/or by notices on the SSLC notice board
just past the main entrance doors on the right, and/or the online SSLC web portal and/or a
special Facebook page. Second Year representatives act as Chairperson and Secretary of the
SSLC meetings and will also attend departmental staff meetings to discuss issued raised at
the SSLC, where appropriate.
Minutes are taken by the SSLC Secretary and should record in a concise form who was
present, what was discussed and what decisions were taken. They should be submitted to the
Director of Undergraduate Studies (as soon as possible after the meeting) who will circulate
them to all SSLC members as well as display them on the Common Room notice board.
SSLC members may report back to other students in a slot before or after a lecture, but
should inform the lecturer in advance to permit appropriate time-planning.
A hard copy booklet about the SSLC, produced by the Students’ Union, is available from the
Students’ Union and the Academic Office; it can also be downloaded at
http://www2.warwick.ac.uk/sunion/sslc/handbook/. The Students’ Union organises training
sessions for SSLC representatives.
Student Mentor Scheme
As a result of a Student-Staff Student Liaison Committee initiative, the department has
developed a student mentor scheme. Second year students have volunteered to act as mentors
to first year students from the start of the autumn term. The date of the first mentoring
meeting will be announced in the first week of term.
Warwick Awards for Teaching Excellence (WATE)
“More important than the curriculum is the question of the methods of teaching and the spirit
in which the teaching is given”
Bertrand Russell
The Warwick Awards for Teaching Excellence give students and colleagues the opportunity
to recognise and celebrate excellence in teaching and the support of learning throughout the
nominee’s career at the University. The awards aim to:

Recognise and reward members of staff who have had exceptional impact on the student
learning experience.
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
Enhance the profile of teaching excellence at the University.

Award winners and commendees with funding to further enhance practice.
All staff, postgraduates and post-doctoral students who teach or support student learning at
Warwick are eligible to be nominated for an award. Winners will receive an award of £5000
and commendees receive £2000.
Information will be circulated when nominations open and students can nominate staff
members or teaching Post-doctoral or Postgraduate students.
http://www2.warwick.ac.uk/services/ldc/funding/wate/awards/studentnomination/
2. RESOURCES
(i) Departmental:
Undergraduate common room
Room A1.23 is for the use of all Film & Television undergraduate students. Enjoy it but
please use the space considerately. Tea, coffee and milk are available, and the kettle can be
refilled in the Staff Kitchen (A1.06). Do let Tracey McVey know if supplies are running low.
Please leave the common room clean and be respectful of the offices and seminar rooms
nearby.
Films and film projection
Films for module screenings (16mm, 35mm and DCP 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 for celluloid and digital projection.
DVD/Video screenings
Screenings are usually either celluloid or DCP (Digital Cinema Packages). We also project
off-air recordings on DVD or Blu-Ray 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.
booking is described below.
The procedure for
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 (rooms A0.26 and A1.25 are centrally timetabled on Mondays and Fridays and
should be booked through Central Timetabling). Rooms A0.28 and A1.28 can only be booked
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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)
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 issued with 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.
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.
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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: Julie Brannon (Ext. 75873)
Senior Occupational Health Adviser: Jane Poole (Ext. 50082)
Fire Safety Officer: Chris Mayfield (Estates Ext. 22561)
Waste and Recycling Manager: Ebiyon Idundun (Estates Ext. 50548)
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 and (more immediately) on the notice board in the main entrance
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 (02476674123 and 02476228606) 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)
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. The person in charge of a class will 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.
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(ii) Outside the Department
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 extensive resources.
Training sessions in Term 1 are arranged by Richard Perkins, the Film and Television
Studies Subject Specialist. Richard is available to help you right through your degree course.
The best way to contact him is by email at r.perkins@warwick.ac.uk . He is usually in the
department on Mondays in room A0.08. You can make an appointment in advance or drop in
if you need help with finding resources. Please contact him immediately should there be any
problems with library resources for a specific module.
Richard also covers Theatre and German. The Subject Specialist Librarian for English and
French is Kate Williams (kate.williams@warwick.ac.uk).
Locations
Most Film & TV books are on Floor 3 of the Library, classified in the range PN 3220 – PN
3279. There should be multiple copies of core texts, and most required seminar reading is
available in PDF form on the Library website at:
http://www2.warwick.ac.uk/services/library/electronicresources/extracts
Material which is in heavy demand is kept in the Short Loan Collection on Floor 1. This
includes the large collection of DVDs and some VHS cassettes. At any one time you may
borrow 2 books and 2 DVDs from Short Loan in addition to your normal allocation of 15
books.
In order to give everybody the chance to use this material, the loan period for such material is
very short, and the fines for late return very heavy. Items are always due the next morning by
11 a.m. (or Monday morning if borrowed Friday to Sunday); the fine rate is £1 per hour
overdue! Short Loan items can be booked in advance via the Library catalogue (Encore) for a
specific day or weekend slot. We strongly advise that you do this for important DVDs, as the
collection is also used extensively by students from other departments.
DVD / Video collection
As stated above, most films are kept in Short Loan, but there are many titles not currently
being taught on modules which are held in the External Store (with a longer loan period).
These can be requested via the catalogue. Items are transported to the library for collection on
Mondays, Wednesdays and Fridays; the only way to receive an item from the External Store
on the day of ordering is to request it before 9.45am on one of the three collection days. If
you need to view films in the Library there are DVD / VHS players on Floor 1. Ask at the
Help Desk if you need headphones.
The collection is a key educational resource; many DVDs and tapes are irreplaceable and we
appeal to all users to treat them accordingly. Please report any faults to the Help Desk.
Study Space
The Library provides a range of study options. Floors 1 and 2 are designed for social / group
working, and the atmosphere is relaxed. Floors 3-5 are more traditional spaces for individual,
13
quiet study. If you prefer to work in complete silence there are two silent reading rooms on
the Floor 2 Extension, near the science books. The Library is open every day (including
weekends) from 8.30am to 12.00am.
Closer to Millburn House you will find The Learning Grid, a space run by the Library in
University House. This is open 24/7, and caters for group working.
IT/Computer Facilities and Training for Students
IT Services provide the essential resources and support necessary to give all members of the
University access to information technology for research, teaching, learning and
administration purposes. If students have problems using the facilities or systems provided by
IT Services, they can go to the Helpdesk located on the ground floor of the Library building,
telephone 024 765 73737 or email helpdesk@warwick.ac.uk.
Every student is entitled to register to use the services provided by IT Services, which can be
accessed from anywhere on campus. Information on setting up an account, accessing the
network from on and off campus, printing and purchasing computers is available on-line at
http://warwick.ac.uk/its. IT Services also produce information on acceptable use of
University IT facilities for students and staff: http://warwick.ac.uk/regulation31. A student
handbook produced by IT Services will be available at the Film and Television Studies
induction session.
Links to internet based research resources relevant to Film and Television Studies can be
found on our website (www2.warwick.ac.uk/fac/arts/film/resources/internet/).
Cinema Provision on Campus
The Arts Centre Cinema, on campus, shows on average eight different films a week (with
two different screenings every evening). Films and special study days (to which members of
the department occasionally contribute) are widely publicised on campus. Module tutors may
draw your attention to specific films, but we strongly urge you to keep up with new releases
beyond specific recommendations. 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. Membership (as of 2014) is £3.50 and
ticket prices thereafter are £2.50. 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 supports the University's commitment to the increased provision of
foreign language learning opportunities for undergraduate and postgraduate students and staff
across the University. It is equipped with digital language classrooms and seminar rooms,
with data projection and electronic whiteboards. There is also a multi-media open access
suite with satellite TV, computer-based learning, and DVD players. There are a number of
14
choices available for acquiring a new foreign language or brushing up language skills:
(i) Modules for credits on the academic programme
These can usually be taken as part of an undergraduate degree course, but this must be
agreed with student’s home department before enrolling. More information available
online from: http://warwick.ac.uk/languagecentre/academic/
(ii) Academic modules not for credit
The same modules as those available for academic credit are also available to take in
addition to degree studies. A fee applies to these modules. Further information is
available from the Centre’s website.
(iii) Lifelong Language Learning (LLL) Courses
A programme of language courses for students, members of staff and the public. More
information is available from: http://warwick.ac.uk/languagecentre/lifelonglearning/.
The Language Centre (http://warwick.ac.uk/languagecentre) is located on the ground floor of
the Humanities Building and can be contacted by email language.enquiries@warwick.ac.uk.
YEAR ONE CURRICULUM
You will have received advance information on these modules. Detailed programmes and
reading lists will be handed out by module tutors at the first session.
BA IN FILM AND LITERATURE: First year modules for 2014-2015
(for assessment see section below)
FI106 Basic Issues and Methods: Film History
Module tutors: Stephen Gundle (Autumn), Stella Bruzzi (Spring) with Nike Jung (Autumn)
and Isabel Rhodes (Spring)
2 screenings per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
FI107 Basic Issues and Methods: Film Criticism
Module tutors: Alastair Phillips (Autumn), José Arroyo (Spring) with Owen Weetch
2 screenings per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
EN122 Modes of Reading
Module convenor: Gemma Goodman (English)
1 lecture per week (1 hour)
1 seminar per week (1 hour)
FR109 Aspects of Modern French and German Literature
Module tutors: Autumn: Susan Beardmore (German) and Spring: Siân Miles (French)
15
2 lectures per week
Seminars as in module handouts
BA IN FILM STUDIES: First year modules for 2014-2015
(for assessment see section below)
FI106 Basic Issues and Methods: Film History
Module tutors: Stephen Gundle (Autumn), Stella Bruzzi (Spring) with Nike Jung (Autumn)
and Isabel Rhodes (Spring)
2 screenings per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
FI107 Basic Issues and Methods: Film Criticism
Module tutors: Alastair Phillips (Autumn), José Arroyo (Spring) with Owen Weetch
2 screenings per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
FI108 Theories of the Moving Image
Module tutor: Catherine Constable (Autumn), Karl Schoonover (Spring) with Mario Slugan
(Autumn) and Charlotte Stevens (Spring)
1 Screening per week
1 Lecture per week (1 hour)
1 Seminar per week (1½ hours)
FI109 Visual Cultures
Module tutor: Michael Pigott, Louis Bayman (Autumn), and Helen Wheatley (Spring)
1 Screening per week
1 Lecture per week (1 hour)
1 Seminar per week (1½ - 2 hours)
ASSESSMENT
The Assessment System: conventions and procedures
Throughout your studies, you are assessed through a combination of essays and unseen
examinations, which take place at the end of each year. At the end of the first year, you
need to achieve an overall pass mark of 40 in each module in order to proceed to the second
year. The actual marks obtained will not count towards your final degree classification.
However, they are an important indication of your progress and it is important that you do
your best from the very beginning. (N.B. employers sometimes ask for academic referees to
comment on 1st year performance as well as degree results.) Final degree classes for the BA
are awarded by the Final Year Examination Board. The scale of marks equivalent to
classification is as follows:
70 and above
60-69
50-59
40-49
39 and below
First
2.1
2.2
3rd
Fail
16
17-point marking scale
Where an assessment or exam is a single piece of work, or a small number of long exam
answers, work will be marked using the 17-point marking scale outlined below.
(The descriptors in the following table are interpreted as appropriate to the subject and the
year/level of study, and implicitly cover good academic practice and the avoidance of
plagiarism. We publish more detailed departmental marking criteria in Appendix 4.)
With the exception of Zero, the descriptors cover a range of marks, with the location within
each group dependent on the extent to which the elements in the descriptor and departmental
marking criteria are met.
Class
Scale
Excellent 1st
First
High 1st
Mid 1
st
Low 1st
Upper
Second
(2.1)
High 2.1
Mid 2.1
Low 2.1
High 2.2
Lower
Second
Mid 2.2
Low 2.2
Descriptor
Exceptional work of the highest quality, demonstrating excellent
knowledge and understanding, analysis, organisation, accuracy,
relevance, presentation and appropriate skills. At final-year level:
work may achieve or be close to publishable standard.
Very high quality work demonstrating excellent knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills. Work which may extend
existing debates or interpretations.
High quality work demonstrating good knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
Competent work, demonstrating reasonable knowledge and
understanding, some analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
High 3rd
Third
Mid 3rd
Low 3rd
Fail
High
Fail Work does not meet standards required for the appropriate stage of
(sub
an Honours degree. There may be evidence of some basic
Honours)
understanding of relevant concepts and techniques
Fail
Low Fail
Zero
Work of limited quality, demonstrating some relevant knowledge
and understanding.
Zero
Poor quality work well below the standards required for the
appropriate stage of an Honours degree.
Work of no merit OR Absent, work not submitted, penalty in some
misconduct cases
17
For calculating module results, the points on this marking scale have the following numerical
equivalents:
Class
First
Upper
Second
Lower
Second
Third
Fail
Zero
Point on
numerical
scale
equivalent
Excellent 1st 96
range of marks for work marked using all
points on 0-100 scale
93-100
High 1st
89
85-92
81
78-84
Low 1st
74
70-77
High 2.1
68
67-69
Mid 2.1
65
64-66
Low 2.1
62
60-63
High 2.2
58
57-59
Mid 2.2
55
54-56
Low 2.2
52
50-53
High 3rd
48
47-49
45
44-46
Low 3rd
42
40-43
High Fail
38
35-39
Fail
25
19-34
Low Fail
12
1-18
Zero
0
0
Mid 1
Mid 3
st
rd
So, if an essay or exam answer is awarded the grade ‘Mid 2.1’ this means that it will count as
a numerical mark of 65 for the purpose of calculating your final grade for the relevant
module.
Further information about examinations may be obtained from your module tutors, your
personal tutor, or the department’s Examinations Secretary, José Arroyo.
The First Year Examination Board meets at the end of the summer term. Further information
about this Board, the regulations which govern it, and the procedures it follows is available
at:
http://www2.warwick.ac.uk/services/academicoffice/examinations/fyboe/guide/
In each case the Board will make one of three recommendations:
1) To allow you to proceed to your second year of study.
2) To require you to take further exams in September, and/or to present further written
work for assessment, before a further Examination Board meets in late September.
3) To recommend that you withdraw from your course of study. (Students in this category
may, if they wish, take further tests in the summer vacation.)
Your personal tutor will be able to give you a full breakdown of your marks following the
board. If you are not able to be present but would like to be sent your overall module grades,
18
please give Tracey McVey a self-addressed envelope, and remember to see your personal
tutor at the beginning of your second year to discuss your results. Do not request marks by
email or telephone.
Examinations test your understanding of critical and theoretical issues and your coverage of
the syllabus, as well as your ability to write concisely and at short notice (see appendix 3
guidelines on preparation for and writing under examination conditions). Assessed essays
give you the opportunity to display your command of close textual analysis and historical
research, and your ability to collect and organise evidence. They develop your analytic,
rhetorical and writing skills (see appendix 2 guidelines for the writing of essays). They also
allow you to learn from comments and corrections by tutors.
You may not repeat material from your assessed essays in any examination, (though you may
repeat material from unassessed or formative essays). If in doubt about this, consult module
tutors or your personal tutor.
Essays will normally be returned to you within four weeks (20 university working days), with
an agreed internal grade and detailed comments from the marker.
You will find in appendix 5 guidelines for the assessment criteria in operation in the
department.
All modules are examined at the end of the first year. The detail of proportion of essay and
exam work in the first year is as follows: –
FI106 Basic Issues and Methods: Film History
Assessment:
Essay 1 x 3,000 words
Essay 1 x 3,000 words
Examination: 2 hours
30%
30%
40%
FI107 Basic Issues and Methods: Film Criticism
Assessment:
Essay 1 x 1,500 words
Essay 1 x 1,500 words
Examination: 2 hours
30%
30%
40%
FI108 Theories of the Moving Image
Assessment:
1 x essay, 2,000 words
1 x essay, 2,000 words
Examination: 2 hours
30%
30%
40%
FI109 Visual Cultures
Assessment:
1 x essay 1,500 words
1 x essay 1,500 words
Examination: 2 hours
30%
30%
40%
Modes of Reading (EN122)
Assessment: 2 essays (3,500 words each)
100%
19
Aspects of Modern French and German Literature (FR 109)
Assessment: 2 essays (2,500 words each)
Examination: 3 hours
40%
60%
Essay Lengths
You must provide a word count at the end of your essay. 10% variation on the required
length, in either direction, is acceptable.
Essay Titles
Essay titles will be published at least 4 weeks before the essay deadline.
Essay Deadlines and Submission
All essays should be submitted by 12.00 noon on the day stated below. All 1st year Film
essays must be submitted both in hard copy form and in electronic form via the e-submission
system. Hard copies of Film Studies essays should be handed in to the Film and Television
Studies departmental secretary (room A0.12), French Literature to the French department
(room H4.42), German Literature to the German department (room H2.05) and Modes of
Reading to the English department (Reception 5th Floor Humanities Building). Film essays
must not be submitted by fax or email.
N.B. When it comes to deadlines which fall in the first weeks of the Christmas or Easter
vacations, if you are not able to submit your essay hard copy in person you may hand it in
before the end of term (but check ahead that there will be someone available in the office
if you plan to submit it on a Friday) or send it by first class signed-for mail. If you do
submit an essay hard copy due in week 11 by mail, it must arrive by 12.00pm on the
deadline day.
For Film and Television modules, the electronic version of your essay must be submitted
though Tabula at Start.Warwick:
https://start.warwick.ac.uk
The deadline for electronic submission is exactly the same as for the hard copy: 12.00pm on
the day stated below. Full instructions on how to upload your essay are provided on the
department’s e-submission web-page. Please remember your essay will not be considered
to have been submitted until you have handed in your hard copy AND uploaded your
essay via the e-submission system. Failure to do either by the specified deadline will
mean that your essay is LATE and you will be subject to the appropriate penalties (see
p.21).
All hard copies of essays should be accompanied by a securely attached and fully completed
front sheet (see appendix 8). This sheet can also be downloaded from our website
(www2.warwick.ac.uk/fac/arts/film/undergrads/). Copies of the sheet are available from the
departmental office, and should be collected in advance – not filled in when you arrive to
submit the essay. The cover sheet only asks for your student number so that the essay will be
marked anonymously if you wish. Normally students hand their essays in personally. If for
any reason it is not possible to hand in the work in person, you are advised not to leave the
submission to the last minute, and to ask the student entrusted with the task to phone you to
confirm that the essay has been signed in. But it should be clear that you are taking the risk
20
of an arrangement going wrong. Retrospective extensions are not given where the essay has
been handed to a third party and has gone astray.
Mark and comment sheets will be attached to essays when they are returned. These are
usually computer generated, but some module tutors may ask you to attach hard copies to
your essays before you hand them in. These are also available from the departmental office.
Students diagnosed with Dyslexia should register with Disability Services. They will assist
in providing yellow stickers which should be attached to the front of assessed essays to alert
the tutor. Visit www2.warwick.ac.uk/services/tutors/disability for further information.
Essay Extensions
If there are circumstances which prevent your handing in an essay by the prescribed deadline,
you will have to apply for an extension. The conventions which apply depend on the
department teaching the module, and are as follows:
For Film Studies modules: the only person who can grant extensions is the Senior Tutor.
You will need to fill in an extension request form on Tabula through Start.Warwick. If the
extension is agreed, you will be provided with a new deadline.
Extensions are given in the case of significant illness, accompanied by a medical note, or
comparable difficulty. They are not given to cover transport difficulties, poor time
management or mistaking/forgetting the time of deadlines. They are not normally given for
computer failure unless this is fully documented. Involvement in extra-curricular university
activities are never grounds for an extension if you could reasonably have planned ahead and
organised your time accordingly.
You may wish to use email to alert your module tutor and/or the Senior Tutor if you are
aware that circumstances are arising which may cause you to require an extension. You will
still need to fill in an extension request form on Tabula.
For English modules: extension requests for English modules should be submitted to the
Director of Undergraduate Studies (Dr Sarah Moss).
For French and German modules: extension requests should be directed to both the
Director of Undergraduate Studies in German (Dr Jim Jordan in Term One; Prof Mary
Cosgrove in Terms Two and Three) and the Senior Tutor of Film and Television Studies.
In some circumstances in which you have not been granted an extension you may still be
advised to complete the assignment and hand it in. In these cases the work will be marked
and the mark reported to the appropriate examination board. The board will consider how, if
at all, the mark is to be taken into account.
Penalties for Late Submission without an Extension
When work is submitted late and no formal extension has been granted, there is a penalty of 5
percentage points reduction of the mark per (working) day late.
Feedback
The department places great importance on maintaining teaching of the highest quality. To
help achieve this, at the end of the Autumn and Spring term, module leaders will ask you to
fill in an anonymous questionnaire, in which you are invited to reflect on various aspects of
the teaching of the module. Please be frank and constructive in your replies as these
21
responses play an important part in enhancing the quality of modules. Issues raised through
module feedback are discussed at SSLC meetings.
ESSAY DEADLINES
TERM ONE
2014
Monday 27th October
Tuesday 28th October
Monday 3rd November
Friday 7th November
Monday 17th November
Tuesday 18th November
*Tuesday 9th December
*Tuesday 9th December
Return Date
(Wk 5)
(Wk 5)
(Wk 6)
(Wk 6)
(Wk 8)
(Wk 8)
(Wk 11)
(Wk 11)
Visual Cultures
Modes of Reading
Basic Issues: Criticism
Theories of Mov. Image
German Literature
Modes of Reading
Basic Issues: History
Theories of Mov. Image
1,500 words
24th November
Formative
1,500 words
1st December
Formative
Formative
Formative
3,000 words
9th January
2,000 words
9th January
TERM TWO
2015
Tuesday 13th January
Monday 9th February
Monday 23rd February
Monday 2nd March
*Tuesday 17th March
Return Date
(Wk 2)
(Wk 6)
(Wk 8)
(Wk 9)
(Wk 11)
Modes of Reading
Basic Issues: Criticism
French Literature
Visual Cultures
Basic Issues: History
3,500 words
10th February
1,500 words
9th March
1,500 words
30th March
3,000 words
16th April
TERM THREE
2015
Monday 27th April
Tuesday 28th April
Monday 11th May
Monday 18th May
Return Date
(Wk 2)
(Wk 2)
(Wk 4)
(Wk 5)
Theories of Mov. Image
Modes of Reading
French Literature
German Literature
2,000 words
27th May
3,500 words
28th May
2,500 words
9th June
2,500 words
16th June
* Hard copies of essays due in after the end of term (Week 11) can be sent by post provided
they are sent First Class Signed For (http://www.postoffice.co.uk/signed-for-first-class) to
arrive by 12.00 noon on the submission day.
Examination information
The syllabus on which examinations are based will be made clear to you by each module
tutor in the revision sessions in the summer term. If in doubt, please consult module tutors in
the first place, or your personal tutor.
Copies of past examination papers (set within the last five years) are available online at:
http://www2.warwick.ac.uk/services/exampapers
Exam rubrics are posted on the noticeboard by the pigeonholes in the summer term and will
be explained by module tutors in revision sessions.
First year examinations are often scheduled to begin in week 6 of the summer term, but exam
timetabling arrangements are not made by the department and cannot be guaranteed.
22
YEAR TWO CURRICULUM
BA IN FILM AND LITERATURE – 2nd year film modules for 2014-2015
(for assessment: see section below)
You will have received advance information on these modules. Detailed programmes and
reading lists will be handed out by module tutors at the first session.
Core module
FI102 Hollywood Cinema
Module tutors: Ed Gallafent (Autumn) and James MacDowell (Spring) with Jo Oldham,
Patrick Pilkington (Autumn) and Catherine Lester (Spring)
1 screening per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
And one of either
FI204 National Cinemas
Module tutors: Stephen Gundle (Autumn) and Karl Schoonover (Spring) with Santiago
Oyarzabal (Autumn) and Ivan Girina (Spring)
1 screening per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
OR
FI203 Silent Cinema
Module tutor: Paul Cuff (Autumn & Spring)
1 Screening per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
BA IN FILM STUDIES - 2nd year film modules for 2013-2014
Students on this degree take Hollywood Cinema and National Cinemas (core modules) see above.
Optional Core Modules (choice of a maximum of two)
FI205 Television History and Criticism
Module tutors: Rachel Moseley (Autumn) and Lauren Thompson (Spring)
1 Screening per week
1 lecture per week
1 seminar per week
AND/OR
FI203 Silent Cinema
Module tutor: Paul Cuff (Autumn & Spring)
1 screening per week
1 lecture per week (1 hour)
1 seminar per week (1 hour)
23
AND/OR
TH237 Audio-Visual Avant Gardes
Module Tutor Michael Pigott (Autumn and Spring)
1 screening per week
Lecture and seminar schedule varies each week, use the link below to access the
weekly schedule:
http://www2.warwick.ac.uk/fac/arts/film/current/undergrads/outlines/avag
Details of optional English modules outside the Department can be found at:
http://www2.warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/optionsm
arket
IATL (Institute for Advanced Teaching and Learning) offer the following modules:
IL001 Forms of Identity: An Interdisciplinary Approach (15 CATS)
IL002 Navigating Psychopathology (15 CATS)
IL004 Creative Writing Across Genres (15 CATS)
IL005 Applied Imagination: An Interdisciplinary Exploration (15 CATS)
IL006 Challenges of Climate Change (15 CATS)
IL007 Human-Animal Studies (15 CATS)
IL008 Reinventing Education (15 CATS)
IL009 The IATL Undergraduate Research Project (15 CATS)
IL508 Foundations of Mathematics (15 CATS)
IL509 Obscenity, Libel and Press Regulation in Britain, 1660-today (15 CATS)
IL510 Product Design and Development (15 CATS)
IL511 Twentieth-Century Popular Culture (15 CATS)
IL512 Strategic Investment and International Business Environments [SIIBE] (15 CATS)
Choice of Option modules for Third Year
BA in Film and Literature
In your third year you will take one core film module (FI301: Film Aesthetics) and at least
one literature option module. The remaining 60 CATS you need to take in your final year can
be made up of film or literature modules, or a combination of both.
However, if you wish to take a Language Centre module or a module not listed in the Faculty
of Arts Option booklet, you will require the approval of the Head of Film and Television
Studies.
BA in Film Studies
In your third year you will take one core module (FI301: Film Aesthetics). Of the
remaining 90 CATs, at least 30 must come from film options and the remainder can be
chosen from film or from the options available in the Faculty of Arts (booklet will be
available on-line)
24
Dissertations
The opportunity exists for students to write a dissertation in place of one of their final year
options. The dissertation is a 10,000 word piece of original research, and you can apply to
write on any topic in film and television studies. The decision to permit a student to write a
dissertation will be taken by the Head of Department. He will consider
[i] your background in the proposed subject area
[ii] your record, particularly the marks for assessed essay work, so far in the degree
[iii] the suitability of the topic as an undergraduate dissertation
[iv] the availability of suitable supervision.
Students writing dissertations are required to attend all the lectures and meetings listed below.
The procedures and timetable are as follows:
In the Second Year:
Week 7 of Spring Term: Lecture/workshop: ‘Formulating a Dissertation Topic’. All those
considering this option must attend this. A form on which the project is to be outlined will be
given out at this meeting
Friday of Week 10, Spring Term: Last day for return of forms. These forms should be
submitted to Adam Gallimore in hard copy and will be logged in, in the same way as an
assessed essay.
Monday of Week 2, Summer Term: Notice indicating successful applications and naming
supervisors is given.
Second Year:
Summer Term
Weeks 9 and 10
Contact your supervisor and arrange a meeting to discuss your dissertation and proposed
work over the summer holiday period.
First Supervisory Meeting
Third Year:
Autumn Term
Week 2, Monday
Review of Literature and draft structure submitted to supervisor
Second Supervisory Meeting
Week 4, Thursday
23/10/14, 9.00-12.00. Workshop on presentation skills, Catherine Constable, A1.27.
Week 5, Thursday
30/10/14, 9.00-12.00. Workshop on presentation skills, Catherine Constable, A 1.27.
Week 7, Monday
Draft chapter submitted to supervisor. Discuss any issues arising with the forthcoming
presentation.
25
Third Supervisory Meeting
Week 8, Thursday
20/11/14 9.00-13.00. Symposium: students to give 10 minute presentations on their research
topics and progress to date in A1.27.
Week 9, Monday
Arrange to meet your supervisor to discuss issues arising from the presentation and gain an
overview of your term’s progress.
Fourth Supervisory Meeting
Spring Term
Week 3
Second draft chapter submitted to supervisor
Fifth Supervisory Meeting
Week 7, Monday
12.00 noon: Dissertation Submission Deadline. (For all details concerning required
presentation see Appendix 4 in this Handbook.)
Week 10, Friday
Dissertation marks returned
ASSESSMENT
The Assessment System: conventions and procedures
Throughout your studies, you are assessed through a combination of essays and unseen
examinations, which take place at the end of each year. The marks obtained in the first year
will not count towards your final degree classification, but 2nd year marks constitute 50% of
the assessment which your degree result is derived from. The scale of marks equivalent to
classification is as follows:
70 and above
60-69
50-59
40-49
39 and below
First
2.1
2.2
3rd
Fail
The Final Year Examination Board uses examination conventions for the award of degree
classifications. These conventions are not confidential and apply to all students in the
Faculties of Arts and Social Sciences, (but not those in the Institute of Education). They are
available on the website:
http://www2.warwick.ac.uk/services/quality/categories/examinations/markscalesconventions/
forstudents/
17-point marking scale
Where an assessment or exam is a single piece of work, or a small number of long exam
answers, 1st and 2nd year work will be marked using the 17-point marking scale outlined
below.
26
(The descriptors in the following table are interpreted as appropriate to the subject and the
year/level of study, and implicitly cover good academic practice and the avoidance of
plagiarism. We publish more detailed departmental marking criteria in Appendix 4.)
With the exception of Zero, the descriptors cover a range of marks, with the location within
each group dependent on the extent to which the elements in the descriptor and departmental
marking criteria are met.
Class
Scale
Excellent 1st
First
High 1st
Mid 1st
Low 1st
Upper
Second
(2.1)
High 2.1
Mid 2.1
Low 2.1
High 2.2
Lower
Second
Mid 2.2
Low 2.2
Descriptor
Exceptional work of the highest quality, demonstrating excellent
knowledge and understanding, analysis, organisation, accuracy,
relevance, presentation and appropriate skills. At final-year level:
work may achieve or be close to publishable standard.
Very high quality work demonstrating excellent knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills. Work which may extend
existing debates or interpretations.
High quality work demonstrating good knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
Competent work, demonstrating reasonable knowledge and
understanding, some analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
High 3rd
Third
Mid 3rd
Low 3rd
Fail
High
Fail Work does not meet standards required for the appropriate stage of
(sub
an Honours degree. There may be evidence of some basic
Honours)
understanding of relevant concepts and techniques
Fail
Low Fail
Zero
Work of limited quality, demonstrating some relevant knowledge
and understanding.
Zero
Poor quality work well below the standards required for the
appropriate stage of an Honours degree.
Work of no merit OR Absent, work not submitted, penalty in some
misconduct cases
27
For calculating module results, the points on this marking scale have the following numerical
equivalents:
Class
First
Upper
Second
Lower
Second
Third
Fail
Zero
Point on
numerical
scale
equivalent
Excellent 1st 96
range of marks for work marked using all
points on 0-100 scale
93-100
High 1st
89
85-92
81
78-84
Low 1st
74
70-77
High 2.1
68
67-69
Mid 2.1
65
64-66
Low 2.1
62
60-63
High 2.2
58
57-59
Mid 2.2
55
54-56
Low 2.2
52
50-53
High 3rd
48
47-49
45
44-46
Low 3rd
42
40-43
High Fail
38
35-39
Fail
25
19-34
Low Fail
12
1-18
Zero
0
0
Mid 1
Mid 3
st
rd
So, if an essay or exam answer is awarded the grade ‘Mid 2.1’ this means that it will count as
a numerical mark of 65 for the purpose of calculating your final grade for the relevant
module.
Further information about examinations may be obtained from your module tutors, your
personal tutor, or the department’s Examinations Secretary, José Arroyo.
The Second Year Examination board meets at the end of the summer term. It consists of the
Head of Department, the Examinations Secretary and all second year module leaders. Its
main function is to ratify marks and to confirm which students can straightforwardly proceed
to their final year of study; it will also make specific recommendations if conditions for
procession to the final year have not been met (i.e. if modules have been failed). Your
personal tutor will be able to give you a full breakdown of your marks following the board.
If you are not able to be present but would like to be sent your overall module grades, please
give Tracey McVey a self-addressed envelope and remember to see your personal tutor at the
beginning of your third year to discuss your results. Do not request marks by email or
telephone.
Examinations test your understanding of critical and theoretical issues and your coverage of
the syllabus, as well as your ability to write concisely and at short notice (see appendix 3
guidelines on preparation for and writing under examination conditions). Assessed essays
give you the opportunity to display your command of close textual analysis and historical
28
research, and your ability to collect and organise evidence. They develop your analytic,
rhetorical and writing skills (see appendix 2 guidelines for the writing of essays). They also
allow you to learn from comments and corrections by tutors.
You may not repeat material from your assessed essays in any examinations, (though you
may repeat material from unassessed or formative essays). If in doubt about this, consult
module tutors or your personal tutor.
Essays will normally be returned to you within four weeks (20 university working days), with
an agreed internal grade, and detailed comments from the first marker who, as your module
tutor, is in the best position to make them. The role of the second marker is to monitor the
standards of marking (rather than offer a second set of comments) and to resolve the internal
grade. The internal grade may be adjusted later by the external examiners. Even though it
may be subject to revision, it is felt to be appropriate to give you the agreed internal mark and
feedback before it is confirmed by the externals, (this is also past students’ preference).
Significant adjustments, though they can happen, are very rare.
You will find in appendix 5 guidelines for the assessment criteria in operation in the
department.
All 2nd year modules are examined at the end of the year. The weightings given to essay and
exam work for film and television modules in the second year is as follows:
BA in Film and Literature and BA in Film with Television Studies
Hollywood Cinema
Assessment: 2 x 3,000 word essays
Examination: 2 questions in 2 hours
60%
40%
National Cinemas
Assessment: 2 x 3,000 word essays
Examination: 2 questions in 2 hours
60%
40%
Television History and Criticism
Formative assessment: 1 x 1,000 word essay
Assessment: 2 x 3,000 word essays
Examination: 2 questions in 2 hours
0%
60%
40%
Silent Cinema
Assessment: 2 x 3,000 word essays
Examination: 2 questions in 2 hours
60%
40%
Audio-Visual Avant Gardes (30 CAT)
Assessment: 1 x 2,500 word essay
Portfolio
Examination: 3 hours
25%
25%
50%
Audio-Visual Avant Gardes (15 CAT)
Assessment: 1 x 2,500 word essay
Examination: 1½ hours
50%
50%
29
Essay Lengths
You must provide a word count at the end of your essay. 10% variation on the required
length, in either direction, is acceptable.
Essay Titles
Essay titles will be published at least 4 weeks before the essay deadline.
Essay Deadlines and Submission
All essays should be handed in by 12 noon on the day stated below; Film essays to the Film
and Television Studies departmental secretary (room A0.12), Literature essays to the English
department (Reception 5th Floor of Humanities Building), and Audio-Visual Avant Garde
essays to the Theatre and Performance Studies department (G.29 of Millburn House). Cover
sheets for literature modules are available from the English department. Please see English
Department guidelines regarding hard copy and e-submission of assessed work:
http://www2.warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/essay
All essays for Film and Television modules must be submitted in BOTH hard copy AND
electronic form. The electronic version of your essay must be submitted though Tabula at
Start.Warwick:
https://start.warwick.ac.uk
The deadline for electronic submission is exactly the same as for the hard copy: 12.00pm on
the day stated below. Full instructions on how to upload your essay are provided on the
department’s e-submission web-page. Please remember your essay will not be considered
to have been submitted until you have handed in your hard copy AND uploaded your
essay via the e-submission system. Failure to do either by the specified deadline will
mean that your essay is LATE and you will be subject to the appropriate penalties (see
p.31).
No essays for any department can be submitted by fax or email.
All hard copies of essays should be accompanied by a securely attached and fully completed
front sheet (see appendix 7). Copies of the sheet are available from the departmental office,
and should be collected in advance – not filled in when you arrive to submit the essay. Mark
and comment sheets will be attached to essays when they are returned. These will be
available for collection from the departmental office.
You must hand in two hard copies of all Film and Television Studies essays; the cover sheet
only asks for your student number so that the essay will be marked anonymously if you wish.
You will need to check with other departments whether they require two copies and
anonymity. Normally students hand their essays in personally. If for any reason it is not
possible to hand in the work in person, you are advised not to leave the submission to the last
minute, and to ask the student entrusted with the task to phone you to confirm that the essay
has been signed in. But it should be clear that you are taking the risk of an arrangement
going wrong. Retrospective extensions are not given where the essay has been handed to a
third party and has gone astray.
30
N.B. When it comes to deadlines which fall in the first week of the Christmas or Easter
vacations, if you are not able to submit your essay in person you may hand it in before the
end of term (but check ahead that there will be someone available in the office if you
plan to submit it on a Friday) or send it by first class signed for mail. If you do submit an
essay due in week 11 by mail, it must arrive by 12.00pm on the deadline day.
Essay Extensions
If there are circumstances which prevent your handing in an essay by the prescribed deadline,
you will have to apply for an extension. The conventions which apply depend on the
department teaching the module, and are as follows.
For Film Studies modules: the only person who can grant extensions is the Senior Tutor.
You will need to fill in an extension request form on Tabula through Start.Warwick. If the
extension is agreed, you will be provided with a new deadline.
Extensions are given in the case of significant illness, accompanied by a medical note, or
severely challenging personal circumstances. They are not given to cover transport
difficulties, poor time management or mistaking or forgetting the time of deadlines. They are
not normally given for computer failure unless fully documented. Involvement in extracurricular university activities is never grounds for an extension if you could reasonably have
planned ahead and allotted your time accordingly.
You may wish to use email to alert your module tutor and/or the Senior Tutor if you are
aware in advance that circumstances are arising which may cause you to require an extension.
You will still need to fill in an extension request form on Tabula.
For English modules: Extension requests should be submitted to the Director of
Undergraduate Studies (Dr Peter Mack in Term One, Dr Pablo Mukherjee in Terms Two and
Three).
In some circumstances in which you have not been granted an extension you may still be
advised to complete the assignment and hand it in. In these cases the work will be marked
and the mark reported to the appropriate examination board. The board will consider how, if
at all, the mark is to be taken into account.
(The second year board of examiners may choose to leave the final decision in such cases to
the end of your third year).
Penalties for Late Submission without an Extension
When work is submitted late and no formal extension has been granted, there is a penalty
reduction of the mark by 5 percentage points for each (working) day late.
31
2ND YEAR ESSAY DEADLINES
TERM ONE
2014
Monday 27th October
Monday 10th November
Monday 17th November
Tuesday 25th November
Friday 5th December
Return date
(Wk 5)
(Wk 7)
(Wk 8)
(Wk 9)
(Wk 10)
TV Hist & Crit (formative)
National Cinemas
Hollywood Cinema
AVAG (15 CAT; 30 CAT option)
TV Hist & Criticism
1,000 words
24th November
3,000 words
8th December
3,000 words
15th December
2,500 words
23rd December
3,000 words
7th January
TERM TWO
2015
Monday 19th January
Monday 16th February
Monday 9th March
Return date
(Wk 3)
(Wk 7)
(Wk 10)
Silent Cinema
National Cinemas
AVAG (15 and 30 CAT)
3,000 words
16th February
3,000 words
16th March
Portfolio
8th April
TERM THREE
2015
Monday 20th April
Thursday 23rd April
Monday 27th April
Tuesday 5th May
Return date
(Wk 1)
(Wk 1)
(Wk 2)
(Wk 3)
Hollywood Cinema
AVAG (30 CAT option only)
TV Hist and Criticism
Silent Cinema
3,000 words
19th May
2,500 words
22nd May
3,000 words
27th May
3,000 words
3rd June
Examination information
The syllabus on which examinations are based will be made clear to you in the revision
sessions in the summer term. If in doubt, please consult module tutors in the first place, or
your personal tutor.
Copies of past examination papers (from the last five years) are available online at:
http://www2.warwick.ac.uk/services/exampapers
Exam rubrics are posted on the notice board in A1.23 in the summer term and will be
explained by module tutors in revision sessions.
Second year examinations often begin in week 7 or 8 of the summer term, but exam
timetabling arrangements are not made by the department and cannot be guaranteed.
32
CURRICULUM YEAR 3
BA IN FILM AND LITERATURE - 3rd year modules for 2014-2015
(For assessment, see section below)
Students are required to take one core film module, one core literature option and film or
literature options worth 60 CATS.
You will have received advance information on your modules. Detailed programmes and
reading lists will be handed out by module tutors at the first session.
Core Module
FI301 Film Aesthetics
Module tutors: José Arroyo with Owen Weetch (Autumn & Spring)
2 screenings per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay (60%) AND 2 hour exam (40%)
BA IN FILM STUDIES – 3rd year modules for 2014-2015
Students are required to take one core module (30 CATs) and 90 CATs worth of option
modules selected at the end of the second year.
You will have received advance information on your modules. Detailed programmes and
reading lists will be handed out by module tutors at the first session.
Core Module
FI301 Film Aesthetics
Module tutors: José Arroyo with Owen Weetch (Autumn & Spring)
1 screening per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay (60%) AND 2 hour exam (40%)
Optional 3rd Year Modules (Film & Television Studies) in 2014-2015 for BOTH degrees
FI321 Contemporary Spanish Cinema: Pedro Almodóvar: 15 CATs (Autumn Term)
Module tutor: José Arroyo
2 screenings per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay OR 2 hour exam
FI322 70s Hollywood Cinema: 15 CATs (Autumn Term)
Module Tutor: Karl Schoonover
33
2 screenings per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay OR 2 hour exam
FI314 Postmodernism and New Hollywood: 15 CATs (Autumn Term)
Module tutor: Catherine Constable
1 screening per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay OR 2 hour exam
FI326 Issues in Documentary (Re-enactment): 15 CATS (Autumn Term)
Module tutor: Stella Bruzzi
1 screening per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay
FI318 British Film & Television Fiction: 15 CATs (Spring Term)
Module tutor: Charlotte Brunsdon
1-2 screenings per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay
FI325 Horror and the Gothic in Film and Television: 15 CATS (Spring Term)
Module tutor: Helen Wheatley
1-2 screenings per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay
FI324 Hollywood Romantic Comedy: 15 CATS (Spring Term)
Module tutor: James MacDowell
1 screening per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay OR 2 hour exam
FI315 Swedish Cinema: 15 CATS (Spring Term)
Module tutor: Ed Gallafent
1 screening per week
1 lecture per week
1 seminar per week
Assessment = 1 x 5,000 word essay OR 2 hour exam
FI205 TV History and Criticism: 30 CATS
Module tutors: Rachel Moseley (Autumn), Lauren Thompson (Spring)
2 screenings per week
1 lecture per week (1 hour)
34
1 seminar per week (1 hour)
Assessment = 1 x 5,000 word essay (50%) AND 2 hour exam (50%)
FI310 Dissertation (30 CATs)
Those who are writing a dissertation this year should note the timetable below:
Autumn Term
Week 2, Monday
Review of Literature and draft structure submitted to supervisor
Second Supervisory Meeting
Week 4, Thursday
23/10/14, 9.00-12.00. Workshop on presentation skills, Catherine Constable, A1.27.
Week 5, Thursday
30/10/14, 9.00-12.00. Workshop on presentation skills, Catherine Constable, A 1.27.
Week 7, Monday
Draft chapter submitted to supervisor. Discuss any issues arising with the forthcoming
presentation.
Third Supervisory Meeting
Week 8, Thursday
20/11/14 9.00-13.00. Symposium: students to give 10 minute presentations on their research
topics and progress to date in A1.27.
Week 9, Monday
Arrange to meet your supervisor to discuss issues arising from the presentation and gain an
overview of your term’s progress.
Fourth Supervisory Meeting
Spring Term
Week 3
Second draft chapter submitted to supervisor
Fifth Supervisory Meeting
Week 7, Monday
12.00 noon: Dissertation Submission Deadline. (For all details concerning required
presentation see Appendix 4 in this Handbook.)
Week 10, Friday
Dissertation marks returned
For options outside the department, please refer to module documentation for details of
teaching schedule and assessment.
Postgraduate Study and Further Courses
If you are thinking of postgraduate STUDY you should talk this over with your personal tutor
in the autumn term. Selecting an appropriate course takes time and care. Courses and
programmes are advertised on the general noticeboard in the Common Room. If you are
interested in continuing your studies here at Warwick, make an appointment with our MA
35
admissions tutor Karl Schoonover who can advise you. In addition information about our
MA programme can be found on the departmental website at:
http://www2.warwick.ac.uk/fac/arts/film/postgrads/ma/
A complete list of courses in Britain may be found (under ‘courses’) in the British Film
Institute Film and Television Handbook in the library. Some programmes have application
deadlines early in the New Year. It is normally expected that you will have an MA before you
can be considered for a PhD programme. A presentation on postgraduate opportunities in
Film and Television Studies at Warwick will be given in the Autumn Term.
If you are thinking of teaching as a career you may need to submit a PGCE application early
in the autumn term. Some PGCE modules work on a first come, first served basis. Most
have early closing dates.
The Assessment System: conventions and procedures
Throughout your studies you are assessed through a combination of essays and unseen
examinations which take place at the end of each year. The marks obtained in the first year
have not counted towards your final degree classification. Final degree classes for the BA are
awarded by the Final Year Examination Board, based primarily on the average of all the
marks you have gained across the second and third years. The scale of marks equivalent to
classification is as follows:
70 and above
60-69
50-59
40-49
39 and below
First
2.1
2.2
3rd
Fail
The degree classification conventions which the Final Year Examination Board must use are
not confidential and apply to all undergraduate students at Warwick. They are outlined in
detail at:
http://www2.warwick.ac.uk/services/academicoffice/quality/categories/examinations/convent
ions/ug08/
Further information about examinations may be obtained from your module tutors, your
personal tutor, or the department’s Examinations Secretary, José Arroyo.
17-point marking scale
Where an assessment or exam is a single piece of work, or a small number of long exam
answers, 1st and 2nd year work will be marked using the 17-point marking scale outlined
below.
(The descriptors in the following table are interpreted as appropriate to the subject and the
year/level of study, and implicitly cover good academic practice and the avoidance of
plagiarism. We publish more detailed departmental marking criteria in Appendix 4.)
36
With the exception of Zero, the descriptors cover a range of marks, with the location within
each group dependent on the extent to which the elements in the descriptor and departmental
marking criteria are met.
Class
Scale
Excellent 1st
First
High 1st
Mid 1
st
Low 1st
Upper
Second
(2.1)
High 2.1
Mid 2.1
Low 2.1
High 2.2
Lower
Second
Mid 2.2
Low 2.2
Descriptor
Exceptional work of the highest quality, demonstrating excellent
knowledge and understanding, analysis, organisation, accuracy,
relevance, presentation and appropriate skills. At final-year level:
work may achieve or be close to publishable standard.
Very high quality work demonstrating excellent knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills. Work which may extend
existing debates or interpretations.
High quality work demonstrating good knowledge and
understanding, analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
Competent work, demonstrating reasonable knowledge and
understanding, some analysis, organisation, accuracy, relevance,
presentation and appropriate skills.
High 3rd
Third
Mid 3rd
Low 3rd
Fail
High
Fail Work does not meet standards required for the appropriate stage of
(sub
an Honours degree. There may be evidence of some basic
Honours)
understanding of relevant concepts and techniques
Fail
Low Fail
Zero
Work of limited quality, demonstrating some relevant knowledge
and understanding.
Zero
Poor quality work well below the standards required for the
appropriate stage of an Honours degree.
Work of no merit OR Absent, work not submitted, penalty in some
misconduct cases
37
For calculating module results, the points on this marking scale have the following numerical
equivalents:
Class
First
Upper
Second
Lower
Second
Third
Fail
Zero
Point on
numerical
scale
equivalent
Excellent 1st 96
range of marks for work marked using all
points on 0-100 scale
93-100
High 1st
89
85-92
81
78-84
Low 1st
74
70-77
High 2.1
68
67-69
Mid 2.1
65
64-66
Low 2.1
62
60-63
High 2.2
58
57-59
Mid 2.2
55
54-56
Low 2.2
52
50-53
High 3rd
48
47-49
45
44-46
Low 3rd
42
40-43
High Fail
38
35-39
Fail
25
19-34
Low Fail
12
1-18
Zero
0
0
Mid 1
Mid 3
st
rd
So, if an essay or exam answer is awarded the grade ‘Mid 2.1’ this means that it will count as
a numerical mark of 65 for the purpose of calculating your final grade for the relevant
module.
The Final Year Examination Board meets towards the end of the summer term. It consists of
the full-time academic staff of the department and two external examiners.
Finalists will be advised of the date of the board, and it is strongly recommended that they
attend on the day to receive a detailed explanation of how their degree result was achieved.
There is also a party on the afternoon of the exam board.
Your personal tutor will be able to give you full details of your marks following the board.
If you are not able to be present but would like to be sent your marks, please give your
personal tutor a self-addressed envelope.
Examinations test your understanding of critical and theoretical issues and your coverage of
the syllabus, as well as your ability to write concisely and at short notice (see appendix 3
guidelines on preparation for and writing under examination conditions). Assessed essays
give you the opportunity to display your command of close textual analysis and historical
research, and your ability to collect and organise evidence. They develop your analytic,
rhetorical and writing skills (see appendix 2 guidelines for the writing of essays). They also
allow you to learn from comments and corrections by tutors.
38
You may not repeat material from your assessed essays in any examinations, (though you
may repeat material from unassessed essays). If in doubt about this, consult module tutors or
your personal tutor.
Essays will normally be returned to you within four weeks (20 university working days), with
an agreed internal grade, and detailed comments from the first marker who, as your module
tutor, is in the best position to make them. The role of the second marker is to monitor the
standards of marking (rather than offer a second set of comments) and to resolve the internal
grade. The internal grade may be adjusted later by the external examiners. Even though it
may be subject to revision, it is felt to be appropriate to give you the agreed internal mark and
feedback before it is confirmed by the externals, as this forms part of the learning process
(this is also past students’ preference). Significant adjustments, though they can happen, tend
to be very rare.
You will find in appendix 5 guidelines for the assessment criteria in operation in the
department.
Third Year: Choice of Assessment Method
Because of the large degree of optionality in the third year, assessment patterns vary. Your
choice of assessment will depend on the method of assessment offered by individual modules
(for instance some options are 100% assessed, with no choice), as well as your own choice
out of the possibilities offered when several assessment options are possible (e.g. some film
options can be 100% assessed or 50% assessed/50% examined). Please note that there is no
minimum quota of examinations which you need to take.
Essay Lengths
You must provide a word count at the end of your essay. 10% variation on the required
length, in either direction, is acceptable.
Essay Titles
Essay titles will be published at least 4 weeks before the essay deadline.
Presentation of Dissertations
The conventions for the presentation of undergraduate dissertations are laid out in Appendix
4.
You should attach a copy of the front sheet (see appendix 8 of the handbook), and the usual
rule applies allowing a 10% variation on the required word-length in either direction.
Essay Deadlines and Submission
All essays should be handed in by 12 noon on the day stated below; Film essays to the Film
and Television Studies departmental secretary (room A0.12), Literature essays to the English
department (Reception 5th Floor of Humanities Building). Cover sheets for literature modules
are available from the English department. Please see English Department guidelines
regarding hard copy and e-submission of assessed work:
http://www2.warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/essay
39
All essays for Film and Television modules must be submitted in hard copy form.
Failure to do so by the specified deadline will mean that your essay is LATE and you
will be subject to the appropriate penalties (see p.41).
No essays for any department can be submitted by fax or email.
All hard copies of essays should be accompanied by a securely attached and fully completed
front sheet (see appendix 7). Copies of the sheet are available from the departmental office,
and should be collected in advance – not filled in when you arrive to submit the essay. Mark
and comment sheets will be attached to essays when they are returned. These will be
available for collection from the departmental office.
You must hand in two hard copies of all Film and Television Studies essays; the cover sheet
only asks for your student number so that the essay will be marked anonymously if you wish.
You will need to check with other departments whether they require two copies and
anonymity. Normally students hand their essays in personally. If for any reason it is not
possible to hand in the work in person, you are advised not to leave the submission to the last
minute, and to ask the student entrusted with the task to phone you to confirm that the essay
has been signed in. But it should be clear that you are taking the risk of an arrangement
going wrong. Retrospective extensions are not given where the essay has been handed to a
third party and has gone astray.
N.B. When it comes to deadlines which fall in the first week of the Christmas or Easter
vacations, if you are not able to submit your essay in person you may hand it in before the
end of term (but check ahead that there will be someone available in the office if you
plan to submit it on a Friday) or send it by first class signed for mail. If you do submit an
essay due in week 11 by mail, it must arrive by 12.00pm on the deadline day.
Essay Extensions
If there are circumstances which prevent your handing in an essay by the prescribed deadline,
you will have to apply for an extension. The conventions which apply depend on the
department teaching the module, and are as follows.
For Film and Television Studies modules: the only person who can grant extensions is the
Senior Tutor. You will need to fill in an extension request form on Tabula through
Start.Warwick. If the extension is agreed, you will be provided with a new deadline.
Extensions are given in the case of significant illness, accompanied by a medical note, or
severely challenging personal difficulties. They are not given to cover transport difficulties,
poor time management or mistaking or forgetting the time of deadlines. They are not
normally given for computer failure unless fully documented. Involvement in extracurricular university activities are never grounds for an extension if you could reasonably
have planned ahead and allotted your time accordingly.
You may wish to use email to alert your module tutor and/or the Senior Tutor if you are
aware in advance that circumstances are arising which may cause you to require an extension.
You will still need to fill in an extension request form on Tabula.
For English modules: Extension requests should be submitted to the Director of
Undergraduate Studies (Dr Peter Mack in Term One, Dr Pablo Mukherjee in Terms Two and
Three).
40
In some circumstances in which you have not been granted an extension you may still be
advised to complete the assignment and hand it in. In these cases the work will be marked
and the mark reported to the appropriate examination board. The board will consider how, if
at all, the mark is to be taken into account.
Penalties for Late Submission without an Extension
When work is submitted late and no formal extension has been granted, there is a penalty
reduction of the mark by 5 percentage points for each (working) day late.
3RD YEAR ESSAY DEADLINES
TERM ONE
2014
Friday 5th December
*Tuesday 16th December
*Tuesday 16th December
Return date
(Wk 10)
(Wk 12)
(Wk 12)
TV Hist & Criticism
Film Aesthetics
Spanish Cinema
5,000 words
7th January
5,000 words
16th January
5,000 words
16th January
TERM TWO
2015
Monday 5th January
Monday 12th January
Monday 19th January
Monday 16th February
*Tuesday 31st March
Return date
(Wk 1)
(Wk 2)
(Wk 3)
(Wk 7)
(Wk 13)
Postmodernisms
70s Hollywood
Documentary
Dissertation
Film Aesthetics
5,000 words
2nd February
5,000 words
9th February
5,000 words
16th February
10,000 words
13th March
5,000 words
30th April
TERM THREE
2015
Monday 20th April
Monday 27th April
Monday 27th April
Tuesday 5th May
Monday 11th May
Return date
(Wk 1)
(Wk 2)
(Wk 2)
(Wk 3)
(Wk 4)
Horror & the Gothic
British Film & TV
TV Hist & Criticism
Swedish Cinema
Romantic Comedy
5,000 words
19th May
5,000 words
27th May
5,000 words
27th May
5,000 words
3rd June
5,000 words
9th June
* Hard copies of essays due in after the end of term (Weeks 11/12) can be sent by post
provided they are sent First Class Signed For (http://www.postoffice.co.uk/signed-for-firstclass).
Examination information
The syllabus on which examinations are based will be made clear to you in the revision
sessions in the summer term. If in doubt, please consult module tutors in the first place, or
your personal tutor.
Copies of past examination papers (over the last five years) are available online at:
http://www2.warwick.ac.uk/services/exampapers
Exam rubrics are posted on the Common Room noticeboards in the summer term and will be
explained by module tutors in revision sessions.
41
Final year examinations usually begin in Week 5 or 6 of the summer term, but exam
timetabling arrangements are not made by the department and cannot be guaranteed.
42
4. TEACHING AND LEARNING
Attendance
Students are required to complete all components of each module to pass. Information
regarding the requirements of each module can be found on individual module websites. This
rule is in accordance with University Regulation 36.2, which ‘sets out general requirements
and expectations in terms of progress, attendance and the completion of work.’ The following
is excerpted from regulation 36.2:
1. Students are expected to engage fully with their course of study, take responsibility for
their own learning and co-operate with their department and wider University as members of
the University community. Students must comply with the requirements for their course as
set out by the department.
2. Students are expected to inform departments of any health problems, changes in
circumstances or other difficulties that may affect their progress. If a student fails to inform
the department, these circumstances cannot be taken into account.
3. Students may be required by the Head of Department to meet with staff in the department.
Students may also be required to meet with administrative staff in the wider University.
4. If a student’s progress or behaviour persistently fails to meet the expectations set out in this
Regulation and departmental course requirements, the Head of Department may recommend
to a Continuation of Registration Committee that the student be required to withdraw (under
section 36.4.4).
http://www2.warwick.ac.uk/services/gov/calendar/section2/regulations/reg36registrationatten
danceprogress/
Attendance at lectures, screenings and seminars: FAQ
Why is attendance at classes important?
The Department expects all students to attend all the lectures, screenings and seminars for
each module followed. We take non-attendance seriously, as it affects both your own learning
and the collective progress of the group. It gives your teachers a perspective on your work
which can be fed into one-to-one tutorial situations as well as in writing references.
What must I do if I cannot attend a class?
In each module the seminar tutor will keep a record of who is present, and note all absences.
If you are unable to attend your seminar group you must inform the seminar tutor, giving the
reason for your absence. You are expected to do this in advance of the class, but if it is not
possible then it is acceptable to so within 48 hours of the class taking place.
You must do this either by email, or by a note in the tutor’s pigeonhole in the office. The
note/email must be copied to your Personal Tutor.
Failure to notify your seminar and personal tutor within the 48 hours will result in the
absence being recorded as unexcused. The judgement as to whether the absence is excused or
unexcused will be made by your seminar tutor. He or she may consult your Personal Tutor or
the Departmental Senior Tutor if necessary.
43
What are acceptable reasons for absence?
This is largely a matter of common sense. If you are ill, or you have (say) a family crisis
which means you need to be away from the campus urgently, these can be acceptable
reasons. It is advisable to provide documentary evidence. You should bear in mind that if you
are persistently ill or in personal difficulties such that you cannot attend for some time, you
may be referred to the Departmental Senior Tutor, who may discuss the option of temporary
withdrawal with you, until you are fit to study again.
What are unacceptable reasons for absence?
You cannot be excused a class because you have an essay to write. You are expected to
organise your time to make space for this.
You cannot be excused for ordinary extra-curricular activities, such as film-making, or
involvement in university societies.
Regular healthcare appointments, e.g. physiotherapy, counselling etc. should not be made at
times which repeatedly clash with a class. If you are receiving counselling because you find
the social and intellectual interaction of seminars difficult, this does not exempt you from
attendance, even if you feel you are not able to contribute a great deal.
If you are suffering from psychological difficulties which prevent your attendance for more
than a brief period of time, you may be referred to the Departmental Senior Tutor, who may
discuss the option of temporary withdrawal with you, until you are fit to study again.
What are the consequences of missing a significant number of seminars?
At the end of each term the department will check the attendance records of all students, and
review the positions of those who have missed four or more seminars in any module.
If there are four or more unexcused absences in any one term you will normally be set a
penalty essay.
The marks for the penalty essay are used as follows. The overall module mark is multiplied
by 10, and the mark for the penalty essay is added to that figure. The result of that addition is
divided by 11 to obtain the revised mark for the module.
Example : An overall module mark of 60, with a penalty essay mark of 52:
60 x 10 = 600. 600 + 52 = 652. 652 ÷ 11 = 59.27
So the revised overall module mark is 59.
If the essay is not submitted, the revised mark is calculated as follows:
Example : An overall module mark of 60, with a penalty essay mark of zero:
60 x 10 = 600. 600 + 0 = 600. 600 ÷ 11 = 54.54
So the revised overall module mark is 55.
In the case of a student being required to write two penalty essays, the addition is divided by
12:
Example : An overall module mark of 60, penalty essays of 55 and 52
60 x 10 = 600. 600 + 55 + 52 = 707. 707 ÷ 12 = 58.91
So the revised overall module mark is 59.
If you believe that the absences have been recorded unfairly as unexcused, you can appeal to
the Head of Department. You will normally need documentary evidence to support such an
appeal.
44
You are expected to keep track of your own attendance at classes. Tutors are not obliged to
warn you that you may be in danger of being set a penalty essay for absence.
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:
Autumn Term
(1) Attendance at initial meeting with personal tutor.
(2) Seminar attendance in week 3.
(3) Seminar attendance in week 5.
(4) Seminar attendance in week 7.
(5) Seminar attendance in week 9.
(6) Submission by set deadlines of 100% of assessed essays
Spring Term
(7) Attendance at progress review meeting with personal tutor by end of Week 3.
(8) Seminar attendance in week 4.
(9) Seminar attendance in week 8.
(10) Submission by set deadlines of 100% of assessed essays.
Summer Term
(11) Attendance at progress review meeting with personal tutor by end of Week 3.
(12) Attendance at 100% of examinations.
 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 Undergraduate 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.
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. Sending and reading text messages is not
acceptable. Should your phone ring during a class, you must switch it off immediately.
Screenings, lectures, seminars and individual study
Each of your modules runs for 22 weeks (including two reading and viewing weeks). Each
involves, on a weekly basis, one or two screenings for film modules and a combination of
lectures and seminars (see section 3 above).
45
1. Screenings are a key aspect of film modules. You are required to attend every screening
that is programmed for you. Learn to make notes during screenings, of factual points (e.g.
characters’ names, unless you have a printed list of credits), of your own impressions or of
points in response to tutors’ comments during the lecture. Re-reading and transcribing your
notes soon after a screening is a vital preparation for lectures and seminars. N.B. If you want
to take notes during screenings using a laptop or tablet, we would ask you to sit at the
back of the screening room to avoid distracting other students with the glare of your
device.
Although VHS and DVD back-up is often available from the library, big-screen communal
viewings are crucial, providing the opportunity for a more thorough examination of textual
details, and replicating the ‘normal’ film viewing experience. Note that there is no automatic
guarantee of module films being available in the library before related lectures and seminars
are due to take place.
2. Lectures introduce or develop knowledge of a particular textual, historical or
theoretical/critical issue or area of which the week’s film or television text is an illustration,
provide historical material and offer guidelines as to how you might read the film, further
library or audio-visual research, and signal points for discussion in the seminars.
Learning from lectures can be difficult. It is quite easy to lose the thread of a lecture if your
attention wanders even for a brief moment, although most lecturers do recap during the
lecture. Film lectures are usually illustrated with film extracts, which also allow you a
‘breathing space’. During a lecture, you have to do three tasks simultaneously:
i) follow and make sense of the argument(s)
ii) think about what is being said
iii) take notes
Do not write everything down: you cannot do that, listen and understand at the same time.
Try to write down the main points, and use seminars to clear up any queries.
3. Small group seminars normally emphasise close textual work, debate theoretical issues
prepared through reading, and test ideas introduced in lectures. Teaching methods may
involve split seminars and smaller group work and in some cases you may be required to
prepare short seminar presentations. Seminars are meant to be a dynamic and supportive
environment for the development of your ideas, as well as of more general communication
skills, especially the ability to construct and express arguments.
Seminars work best if everybody contributes to them. This includes:
i) preparing: making notes on the screenings or on your reading, preparing topics when
required, doing the required reading.
ii) listening to what is being said, both by the module tutor and other students.
iii) talking: this includes making spontaneous interventions, not just speaking when asked a
question. Many students find this initially terrifying, because they feel intimidated by
the module tutor, or by other students in the group, or simply because they are unused to
speaking in public. To overcome this, bear in mind that many people in the group will
feel the same (even if they don’t look it). The point is to advance a collective discussion,
and that involves trial and error. Remember that talking will be easier if you have
prepared for the seminar and if you listen attentively throughout. It is also valuable to
write up your thoughts after a seminar.
4. Individual study. This will be the newest and perhaps the most difficult aspect of your
work. The undergraduate study experience is very different from taking A Levels in a number
46
of crucial ways. Schools and sixth-form colleges are judged and funded on students’ exam
results, and you may have experienced schooling situations in which A level teachers play a
very direct role in assisting you in the preparation of your coursework, even to the extent of
carefully scrutinising drafts and correcting mistakes for you before work is submitted.
Universities are not subject to the same pressures, and generally take the view that a study
environment in which students have to take the initiative for improving the quality of their
work will offer better preparation for life beyond education. Module and personal tutors offer
office hours to give you the opportunity to discuss how you might approach an assignment or
act on critical feedback, but you are expected to be proactive in making use of this facility.
Organising your own individual study time requires planning and discipline; it will have a
bearing on what you get out of lectures and seminars, and ultimately on the overall quality of
your work. Individual study includes sourcing books and articles on reading lists (often
frustrating and time consuming), reading and making notes on them, planning and writing
your essays, preparing seminar presentations, keeping up with journals and with your film
viewing outside module films (films shown on campus and those in the video library). Try to
plan realistically: leaving essay preparation and writing to the last minute is one of the most
common problems. If you have persistent difficulties planning your work, consult your
personal tutor. Please consult Student Careers and Skills programme for workplace or
seminar performance, essay writing and note taking should you need further help (p.45)
Reading and Viewing Week
The department has reading and viewing weeks in weeks 6 of the autumn and spring terms.
During these weeks no lectures or seminars are held. It is intended that you should use the
time for reading and viewing and to prepare material for the second half of term.
Timetable
The timetable for your year of study is displayed on the noticeboards opposite Room A0.13.
5. THE UNIVERSITY: SUMMARY OF USEFUL SUPPORT
SERVICES
Student Support Services
Student Support Services (http://warwick.ac.uk/supportservices) offer a comprehensive
support structure available to help with all kinds of different problems, including personal,
health, financial, problems connected with the law and University regulations, problems
involving the provision of facilities for students with disabilities, or harassment of any sort.
Students may consult the services of their own accord, or may be referred to them by
personal tutors/supervisors. There may be more than one option available to students in
difficult situations. Support services available to students through the University comprise the
following:

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


Student Support (http://www2.warwick.ac.uk/services/studentsupport)
Personal Tutors System (http://warwick.ac.uk/personaltutors)
University Senior Tutor (http://warwick.ac.uk/seniortutor)
Residential Life Team (http://www2.warwick.ac.uk/services/studentsupport-services/residential-life)
International Office (http://warwick.ac.uk/services/international)
Counselling Service (www.warwick.ac.uk/counselling)
47








Disability Services (http://warwick.ac.uk/disability)
Mental Health Team (http://warwick.ac.uk/mentalhealth)
Student Wellbeing Advisor/Practitioner
(http://warwick.ac.uk/mentalhealth)
University Health Centre (www.uhhc.org.uk)
Chaplaincy (http://warwick.ac.uk/chaplaincy)
Student Advice Centre (an independent, free and confidential Students’
Union service)
Student Funding (http://warwick.ac.uk/services/academicoffice/funding/)
Security Services (http://warwick.ac.uk/security)
Student Support Services, located on the ground floor of University House, can be contacted
by telephone on 024 765 75570 or email on studentsupport@warwick.ac.uk
A students’ guide to Student Support Services entitled Need Help Finding Your Way? is
available online from http://warwick.ac.uk/supportservices/student-support-servicesbrochure.pdf).
University Senior Tutor
The University Senior Tutor works closely with the Head of Student Support to help students
in times of need by promoting the academic support of students, individually and
collectively. The Senior Tutor is an experienced member of academic staff whom students
can turn to in confidence for support regarding difficulties with their studies. The University
Senior Tutor is responsible for the personal tutor system. The University Senior Tutor has no
disciplinary function. Issues typically dealt with by the University Senior Tutor include:
academic course issues such as change of course, advice on temporary withdrawal, appeals
against academic decisions; academic complaints; difficulties in getting on with a personal
tutor, course tutors or supervisors; and problems with termination of registration proceedings.
The University Senior Tutor can be contacted via email seniortutor@warwick.ac.uk or
telephone 024 765 22761.
Residential Life Team
All students who have accommodation on campus, or in some off-campus properties in the
surrounding area, have access to an excellent network of support called the Residential Life
Team. The Residential Life Team works and lives alongside students within the Halls of
Residence and is a key part of the University’s support network.
Resident Tutors are there to help with a wide range of matters including: personal or family
problems; feeling lonely or homesick; problems with accommodation – e.g. noisy
neighbours, trouble settling in etc.; and when students are not sure where to get help or who
to talk to. Resident Tutors in students’ accommodation are their primary point of contact; if
unavailable, students are advised to contact the Student Support Office.
International Office (Immigration Team)
The International Office supports all EU and international students during their studies at
Warwick and is able to assist with immigration advice (a free and confidential service
advising on issues including visa extensions, dependant visas, working in the UK during or
after study, travel visas, etc.); practical support (bringing family to the UK; Police
registration; providing letters to prove student status for visa purposes; banking) and the
International Student Experience (orientation and a programme of ongoing induction events;
48
social events and trips for international students and their families; and the opportunity to
take part in a HOST visit).
The International Office, located on the first floor of University House, can be contacted by
telephone on 024 765 23706 or email Internationalsupport@warwick.ac.uk or
immigrationservice@warwick.ac.uk.
Advice on immigration can only be obtained via authorised staff who are deemed to meet the
Immigration Services Commissioner’s Code of Standard and Guidance. Students should be
directed to the Immigration Team within the International Office
(immigrationservice@warwick.ac.uk) or the Students’ Union Advice Centre
(advice@warwicksu.com) in the first instance for immigration advice. It is also worth noting
that changes in a student’s enrolment status, for instance, temporary withdrawal, can have
implications for their ability to hold a visa to remain in the UK and students may wish to seek
advice accordingly.
The Senior Tutor and Counselling Service
The University Counselling Service provides an opportunity for all students at any level and
at any time of study at the University of Warwick to access professional therapeutic
counselling so that they may better develop and fulfil their personal, academic and
professional potential. There are a wide variety of services, including individual counselling,
group sessions, workshops and email counselling.
Students may wish to visit the Counselling Service if they are: suffering from depression;
experiencing stress/anxiety; having problems with self/identity; having problems with
relationships; having issues from the past or present that may hinder their capacity to function
– abuse, self harm, eating disorders, loss.
The University Counselling Service is located in Westwood House and can be contacted by
telephone on 024 765 23761 or email counselling@warwick.ac.uk.
Disability Services
Disability Services offer advice, guidance and support to students with Specific Learning
Differences/Dyslexia or other, hearing and visual impairments, physical disabilities, mobility
difficulties, Asperger’s, unseen/medical conditions, mental health difficulties and any other
impairment or condition that is likely to have an impact on their studies and life at University.
The services provided are tailored to the individual and aim at enabling students to manage
their support and studies independently.
Students should visit Disability Services to discuss individual support requirements; for
advice on the Disabled Student Allowance (DSA); if they think they might be dyslexic or
have any other Special Learning Difference; if they require exam arrangements, note taking,
mentoring, specialist study skills support etc.; for information about accessible campus
accommodation, parking, resources and assistive technology; and for information about
external agencies that also provide support.
Disability Services are located on the ground floor of University House and can be contacted
by telephone on 024 761 50641 or email disability@warwick.ac.uk.
Mental Health Team
The University Mental Health Team provides advice, information and support as to facilitate
academic work and participation in University life. Their main aims are to promote mental
health and wellbeing throughout the University; to identify support needs; to discuss
49
strategies for managing mental health difficulties; to provide short-term or ongoing support,
which may include mental health mentoring for students in receipt of Disabled Students
Allowances; to provide information and if needed, access to other services within the
University and local mental health services.
Students should contact the Mental Health Team if they are struggling to manage a mental
health difficulty; if they, or other people, have become concerned about their mental health
recently; and if they would like to discuss strategies which may help them to cope with
university life.
The University Mental Health Team is located on the ground floor of University House and
can be contacted by telephone on 024 761 50226/51629 or email
mentalhealth@warwick.ac.uk.
Student Wellbeing Advisor/Practitioner
The Wellbeing service is based within Student Support. As well as working institutionally to
promote positive wellbeing, there is also an opportunity for students to meet with an adviser
if they have concerns about their wellbeing or would like to make changes to their lifestyles
in order to improve their wellbeing, e.g. healthy lifestyle, work life balance, managing stress,
relationships with others, etc.
University Health Centre
Students resident on campus and in some local areas should register with the University
Health Centre. Students must be registered in order to use the Health Centre, although the
Centre may be able to assist non-registered people in emergencies.
The Health Centre provides primary health care GP services to registered patients; two
medical practices with both male and female doctors; nurse practitioners and Practice Nurses;
sexual health clinics; travel clinics and immunisation facilities; physiotherapy sessions.
Students should visit the Health Centre if they require a consultation with a doctor or nurse;
an emergency appointment; emergency contraception; vaccinations or advice on
vaccinations; sickness certification.
Students living off-campus, who are not able to register with the health centre, can locate
your nearest GP by visiting www.nhs.uk
The University Health Centre is located on Health Centre Road and can be contacted by
telephone on 024 765 24888.
Chaplaincy
The Chaplaincy is the focus of Spiritual life on campus; it provides a meeting place for
Christian, Jewish and Muslim prayer and worship. It is a focal point for different faith groups
and student societies and offers a safe, supportive space at the centre of campus where people
can ‘learn to live well together’. Students of all faiths and none can come and find a friendly
place to chat and eat. A chapel, three kitchens, meeting rooms and an Islamic prayer hall
make the Chaplaincy an inclusive, spiritual and social space that welcomes the whole
University community.
50
Students can visit the Chaplaincy with personal issues – stress, debt, relationships, loneliness;
vocational issues; theological issues; enquiries about using the Chaplaincy for religious and
social functions.
The Chaplaincy is located by the Arts Centre and can be contacted by telephone on 024 765
23519 or email chaplaincy@warwick.ac.uk.
Student Funding
The Student Funding team offers advice and guidance on all aspects of financial support.
This includes government grants and loans, and scholarships and bursaries provided directly
by the University. The team can provide budgeting advice to help make students’ money go
further and also administers University hardship funds.
Students should visit Student Funding if they want to know what financial support they may
be entitled to; want to know more about the scholarships and bursaries; are having difficulty
paying for your day-to-day living expenses; or have additional financial needs because they
care for a child or have a disability.
The Student Funding team is located on the ground floor of Senate House and can be
contacted by telephone on 024 761 50096 or email studentfunding@warwick.ac.uk.
Security
The University Security Team works 24 hours a day to support the University’s overall aims
by ensuring there is a safe, secure and friendly environment for students, staff and visitors.
The University also has a campus policeman who is located on the University campus, is
available Monday to Friday (9am – 5pm) and can be contacted by telephone on 024 765
22083 or email security@warwick.ac.uk. In emergencies dial 999.
Students should call the security team about emergency response requirements –
Doctor/Ambulance/Fire; safety and security issues on and off campus; assistance – pastoral
care, directions and facility support; outdoor event applications and entertainment support.
Student Careers and Skills
Careers support for Film and Television Studies students
The Centre for Student Careers and Skills exists to enable Warwick students at all levels to
devise and implement their lifelong careers plans. You will see signs “My Warwick Journey”
- this is the branding for Student Careers and Skills services. You can access the support at
any stage of your time here but would be well advised to start early.
Take a look at the website for more details of the services available:
www2.warwick.ac.uk/services/scs
Senior Careers Consultant
You have a designated Senior Careers Consultant who has extensive experience working with
students from Film and Television Studies. They will be familiar with the range of
employment opportunities open to students of your discipline and can advise you on the
relevant application processes.
51
The Senior Careers Consultant can be contacted by email via careers@warwick.ac.uk .
Student Careers and Skills is located on the ground floor of University House. See:
http://www2.warwick.ac.uk/about/visiting/maps/interactive/
The Senior Careers Consultant will also be able to see you in your department. Appointments
can be made through the MyAdvantage system: https://myadvantage.warwick.ac.uk/
Your course has a Student Careers and Skills representative, Daisy Richards. She helps to
maintain a useful Facebook page which you can find here:
https://www.facebook.com/WarwickFilmTVCareers
Social Media
You might also want to take a look the Student Careers & Skills social media channels:
Facebook: https://www.facebook.com/WarwickCareersCentre
Twitter: https://www.twitter.com/WarwickCareers and https://twitter.com/ArtsCareers
Warwick Careers Blog: http://careersblog.warwick.ac.uk/
YouTube: https://www.youtube.com/user/careersandskills
Succeeding at Warwick
In addition to providing advice regarding your future career, Student Careers and Skills can
help by providing academic, personal and professional training to support your degree
success. A variety of programmes and awards are available and you can find details here:
http://www2.warwick.ac.uk/services/scs/skills
Your future
You might want to find out what others who have studied your degree in the past have gone
on to do. Information is available here:
http://www2.warwick.ac.uk/services/scs/career/gradstats/department/film
During your time at Warwick you can be enhancing your employability through becoming
engaged with university life through clubs and societies. Part time paid work, volunteering
and internships can also make you more attractive to potential employers. If you take an
unpaid internship you may be able to get funding from the university for the period of the
internship (up to 2 weeks). You can find out about the scheme here:
http://www2.warwick.ac.uk/services/scs/experience/bursary/
Try to come along to events organised by Student Careers and Skills, Careers Fairs are a
particular highlight of the year and you can find out about them at:
http://www2.warwick.ac.uk/services/scs/whatson/fairs/
Given your degree subject you may also be interested in coming along to the Careers in
Radio, TV and Film sector event which takes place on Tuesday 28 October at 7.00pm.
Careers consultants also run skills sessions throughout the year. These are advertised on
MyAdvantage (https://myadvantage.warwick.ac.uk/) and are designed to give you targeted
52
employment training. You might find, for example that it is useful to come along to some
training on how to make the best of the careers fairs, how to put together an application or as
interview preparation.
The Students’ Union
All students automatically 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 which complements the help and support provided
by the Senior Tutor’s Office. 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 problem that cannot be resolved and who feels the Union can
help should contact this representative.
Students’ Union Advice Centre
The Students’ Union Advice Centre (http://www.warwicksu.com/advice/) is an independent
Warwick Students’ Union-run service for all students. It offers free, confidential, nonjudgemental advice and support on a whole range of issues. Students can contact the Advice
Centre if they have academic problems and difficulties with, for example, exams, change of
course, academic appeals and complaints; have a housing problem with their accommodation
on or off campus; have immigrations problems such as entry clearance, family members and
working in the UK; have money or legal difficulties, or are simply not sure who to talk to or
where to get help.
The Advice Centre is on the second floor of SU HQ next to the lift. It will see students
usually by appointment or can be reached by telephone on 024 765 72824 or email
advice@warwicksu.com
Film Making
Although your degree is devoted to the academic study of Film, Television and/or Literature,
involvement in practical and creative work is possible outside the curriculum. If you plan to
seek a career in any of the media industries it will be advantageous for you to show that you
have used your time at university to develop your understanding and experience of the
creative arts. There are many opportunities to participate in music-making, creative writing
and journalism, radio, and theatre on campus. Experience in these fields - as creator,
performer, designer, organiser - can be exciting, and a valuable complement to your studies.
There is an active film society within, and funded by, the Students’ Union. It can provide
access to video equipment and facilities, and can put you in touch with others who wish to
share in investigating the possibilities of movie-making. Both through the society and
independently, students of Film have made interesting and accomplished productions which,
in some cases, have benefited their careers.
Lord Rootes Memorial Fund
Film students have been enabled to realise important and sometimes expensive ambitions
through assistance from the University’s Lord Rootes Memorial Fund. Grants are available
“to enable students to undertake, normally during the summer vacation, projects or
expeditions by individuals or groups entailing observation and the intelligent use of
experience in the scientific, technological, cultural, social or business context”. Information
about the Fund is usually publicised in the autumn term with a deadline for submissions in
December. Since applications need to be well considered, persuasively presented, and fully
costed it will be advantageous to make an early start, especially if you wish to organise a
group endeavour. You may find it useful to browse through reports from past recipients of
53
Lord Rootes awards; these are held in the Modern Records Centre of the university library
and are available for consultation on request. You will find that a wide range of projects
submitted by students from this department has gained support and that the sums awarded
have been as much as £2,000. For further details visit:
http://www2.warwick.ac.uk/insite/topic/teachinglearning/rootes
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, recognising the value of sustaining and
advancing a safe and welcoming learning environment, strives to treat both employees and
students with respect and dignity, treat them fairly with regards to all assessments, choices
and procedures, and to give them encouragement to reach their full potential. Therefore the
University strives to treat all its members, and visitors, fairly and aims to eliminate
unjustifiable discrimination on the grounds of gender, race, nationality, ethnic or national
origin, political beliefs, religious beliefs or practices, disability, marital status, family
circumstances, sexual orientation, spent criminal convictions, age or any other inappropriate
ground.
The University and the 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 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/services/gov/calendar
A range of university policies which the department abides by are explained at the links
below:
a. Sexual, Racial and Personal Harassment: Dignity at Work and Study Policy
http://warwick.ac.uk/humanresources/newpolicies/dignity
b. Policy on Recording Lectures by Students
http://warwick.ac.uk/quality/recordinglectures/
c. Smoking Policy
http://warwick.ac.uk/services/healthsafetywellbeing/guidance/smokingpolicy
d. Policy on the Timing of the Provision of Feedback to Students on Assessed
Work
http://warwick.ac.uk/quality/categories/examinations/goodpractice/assessment
/timeliness
54
e. Moderation guidance
http://warwick.ac.uk/quality/categories/examinations/moderation
f. University assessment strategy
http://warwick.ac.uk/quality/categories/examinations/assessmentstrat
If you wish to make an informal or formal complaint about a teaching-related matter, detailed
information about the procedures available is provided at:
www.warwick.ac.uk/go/studentfeedbackandcomplaints
55
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
56
APPENDIX 2
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,
along with invigilated examinations, 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. 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. 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. It is not enough to include the work from which they are taken in 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 an extremely serious offence. A tutor who finds
plagiarism in an essay will report the matter to the Chair of the Department. The Chair may,
after hearing the case, impose a penalty of a zero mark for the essay in question. This can
have serious consequences for first-year results. In the case of second-year and third-year
students, the matter may go to a Senate disciplinary committee. If plagiarism is detected in
57
one essay, it is likely that other essays by the student concerned will be examined for
evidence of the same offence.
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 undergraduate 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. However, plagiarism is cheating and our academic staff have become extremely
efficient at detecting it.
N.B. Please note that 1st and 2nd year students are required to submit an electronic
copy of all their essays, and these will be scrutinised by the online plagiarism sourcematching service TurnItInUK, which scans coursework for any evidence of collusion
between students, unacknowledged use of any source available online and also use of
cheat sites.
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. Undergraduate Skills Programme offers writing
workshops
and
one-to-one
drop
in
sessions,
see
http://www2.warwick.ac.uk/services/skills/usp for details.
(a) General presentation
 Students must submit 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.
 Number all pages.
 Unless otherwise instructed, insert your student ID 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.
 2nd and 3rd years must provide two hard copies of all essays and dissertations.
 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.
Example:
58

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 of fin 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 of the rules of use for this
system please consult the MHRA Style Guide (London: Modern Humanities Research
Association, 2002), available in the library.
59





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 of American 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 of American 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 of Production to 1960 (London:
Routledge, 1985), p. 23.
5
Klinger, ‘Digressions at the Cinema’, p. 11.
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
60
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.
7
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.
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.
61
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 or duplicate the hard-copy in PDF form.
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
Charlotte Brunsdon, lecture given at the University of Warwick, Coventry, 21
January 2007.
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 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
like National Cinemas I & II 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 of Love.
62
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 channel or network
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.
DVDs and Blu-Rays
The conventions for referencing information or quotations taken from the audio commentary
on a LaserDisc, DVD or Blu-Ray 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. If your spelling is shaky, begin with the list of ‘commonly
misspelt words’ at the end of this section. In addition, special care should be taken with the
spelling of titles, characters and authors of works being discussed.
63
Do not rely on the ‘spell-check’ facility on your computer. These programs identify nonexistent 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’);
under the section ‘commonly misspelt words’ you will find other pairs of words often
confused with each other.
(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 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:
64
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).
Further Help with Improving Academic Writing Skills
The UG Skills Programme offers a range of options to help students with
writing essays. There are Academic Writing Workshops and one-to one drop in
sessions with Writing Mentors. See the ‘Careers and Skills’ section in Teaching
and Learning and visit:
http://www2.warwick.ac.uk/services/scs/skills/usp
65
COMMONLY MISSPELT WORDS
accommodate
accumulate
achieve
affective
(effective)
aggravate
allusion
(illusion)
*ante*antiapparent
appropriate
argument
aural (oral)
biased
blatant
*climactic
*climatic
committee
commitment
*complement
*compliment
conscious
council
counsel
criterion
(criteria pl.)
crucifixion
deceive
definite
degradation
*dependant
*dependent
desperate
detached
development
dilemma
*discreet
*discrete
divine
*dual
*duel
embarrass
emerge (immerse)
empirical
existence
extravagance
fulfilment
goddess
harass
heroes
hierarchy
humorous
hypocrisy
incite (insight)
imminent
independent
ideology
infinite
irrelevant
irresistible
led (lead)
lightning (lightening)
loneliness
lose (loose)
loth (loathe)
medium (media pl.)
metre (pentameter)
necessary
occasion
occurrence
parallel
perceive
personification
pursue
portrayal
*practice
*practise
precede
proceed
*principal
*principle
privilege
professional
*prophecy
*prophesy
recurrence
reminiscent
repellent
repetition
repress
rhythm
stratum
(strata pl.)
suppress
separate
simile
subtly
subtlety
succumb
supersede
symbolic
tendency
transience
truly
*make sure you understand the difference between pairs of words marked by an
asterisk
66
APPENDIX 3
EXAM WRITING SKILLS
Introduction
University examinations are NOT simply opportunities to repeat
seminar or lecture material verbatim under the constraint of time
pressure
University examination revision begins with renewed coverage of the main topics and themes of the module, but
be prepared to extend your learning through additional research and planning
You have to come to the examination room with the ability to demonstrate your knowledge and critical
understanding of the module in a rapid, succinct, intellectually agile, accurate and relevant fashion
I: WHY EXAMINATIONS?

To test your ability to comprehend and analyse a key topic covered within the module

To test your individual research skills to the extent that you are able to present more comprehensive or
more considered coverage of a key critical issue

To give you the chance to synthesise your existing knowledge of the topics/films/critical literature
covered within the module and then reframe this knowledge within the parameters of a different or
more challenging critical paradigm

To give you the chance to develop a wider perspective on a number of themes or issues arising from
the module and present this understanding in an independent and individual fashion

To give you the opportunity to develop new areas of understanding in relation to the main themes of
the module

To test your ability to write clearly and accurately under time pressure

To test your ability to organize your critical thinking in a coherent and justified fashion under time
pressure

To develop the means by which you can express your understanding of a range of complex ideas in a
succinct but clear fashion

To test your ability to make an informed assessment of a wide range of critical opinion
67
II: HOW TO REVISE
Where to study
 Find a quiet place to study and make sure you are sitting comfortably
 Make sure your desk is well lit
 Keep background noise to a minimum
 Avoid studying in an area where there will be distractions
 Have everything you need to do your revision to hand before you start
How to study
There is no ‘right way’ to revise, as long as the method you choose enables you to gain a solid grasp of the key
issues and to consolidate and extend your existing knowledge.

Review and extend your coverage of key reading and viewing

write core ideas and facts on to cards to use as ‘prompts’

create memory aids such as diagrams or mnemonics. These will help you remember key
terms/quotes/ideas

write key notes out and display these around the house where you will see them

record yourself reading notes to listen to

Look at past question papers – try answering a number of sample questions in note form under strict
time limits

Look after yourself – Sometimes revision can become a competition – who stayed up latest, who
worked longest, who’s worrying the most. But the more tired you are the less efficiently you’ll work.
You need to rest as well as study, eat well, drink lots of water and make sure you pace yourself. Don’t
rush, and equally don’t over-revise by doing too much too soon
Have a revision plan

The top tip for successful revision is to make a plan; otherwise it is easy to waste your precious
revision time. It is helpful to look at your exam dates and work backwards to the first date you intend to
start revising.

List all your exam subjects and the amount of time you think you will need for each one.

Draw up a revision plan for each week

Fill in any regular commitments you have first and the dates of your examinations

Use Revision Checklists for each subject as a starting point. Look at what you need to know or would
like to know more about. Try to identify any gaps in your knowledge

Divide your time for each subject into topics, and make sure you allow enough time for each one

Plan your time carefully, assigning more time to subjects and topics you find difficult
68
General Tips

Revise often; try and do a little every day

Plan in time off, including time for activities which can be done out in the fresh air. Take a 5 or 10
minute break every hour and do some stretching exercises, go for a short walk or make a drink

Don’t panic; think about what you can achieve, not what you can’t. Positive thinking is important!

Don’t stay up all night last minute revising; being overtired will not help you to do your best

Eat sensibly – your brain cells need energy to function well. Make sure you drink plenty of water to
avoid becoming dehydrated. Dehydration makes you tired and reduces concentration

It is natural to feel nervous before an examination. The more prepared you feel, the easier it will be to
conquer your fears.

Think positively and constructively
III: WRITING THE PAPER

Planning is crucial. Do not rush into your answer.

Keep your sentence and paragraph structure concise.

Express yourself as clearly and straightforwardly as possible.

Be specific. Avoid generalization.
 Justify your arguments.

Do not repeat your points unnecessarily. Keep a sense of forward momentum and intellectual
progression.

Make sure that you are answering the precise question.

Do not waste space with waffle or elaborate cleverness.

Refer to important critical reading (but no need to follow elaborate rules of referencing) e.g. ‘as Leahy
has argued ….’

Keep textual analysis succinct and relevant.

Demonstrate the range of critical opinion of a given topic and provide a reasoned assessment of it.
IV: HOW TO STRUCTURE AN EXAM ESSAY
Always work with a plan. Start with an INTRODUCTION which provides any necessary contextual information
and which looks ahead to the main body of the essay and indicates what is to come. Go on to the ARGUMENT
which is presented as a series of points which are considered in turn and which should be coherent and
consistent and draw on evidence. End with the CONCLUSION where the argument will be summarised and
perhaps further implications considered. When writing keep in mind the following questions:
*
will the focus be consistent?
69
*
will the essay appear to be a coherent whole?
*
what links can be made between the different sections?
*
how will the introduction and conclusion relate?
*
what will be the balance of words between the different sections?
*
have the ideas and arguments been fully signposted and developed?
*
has the question been answered?
*
is the tone of the essay appropriate for a piece of academic writing?
YOUR ESSAY SHOULD BE FREE OF ANY MECHANICAL
ERRORS. THEREFORE CHECK:
Spelling
Punctuation
Grammar and syntax Make sure that your sentence structure is not too over-complex and that your syntax is
clear and coherent
Presentation try to keep your handwriting clear and legible
V: HOW WILL YOUR EXAM PAPER BE ASSESSED?
*
the essay's relevance to the title
*
structure/organisation
*
understanding and use of relevant critical terms and concepts
*
originality of interpretation (ability to move beyond mere repetition of core material covered
in seminar or lecture)
*
persuasiveness and coherence of argument
*
prose style
*
use of appropriate textual analysis
*
appropriate use and proper acknowledgement of secondary sources
*
informed understanding and use of relevant contexts (historical, social, cultural etc.)
*
technical accuracy
70
APPENDIX 4
Third Year Dissertation Option
Submitting your Dissertation
You should submit TWO copies of your dissertation to the Film Studies office by 12.00 noon
on Monday Week 7 (Spring Term). One copy will subsequently be returned to you. The
presentation of your dissertation should conform to the description below.
Title-Page
This should include the following information: the title of the work, the full name of the
author, the name of the institution and the date (month and year) of submission.
Summary/Abstract
This follows the title-page and should not be longer than 500 words. 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 dissertation,
including the title of chapters, sections and sub-sections, as appropriate; the list of references;
the bibliography film/television/videography; the list of abbreviations and other functional
parts of the whole dissertation; any appendices.
Text
The main text should be divided into appropriate sections and/or chapters, with sub-sections
if necessary. The first section or chapter would generally include, but need be limited to, the
introduction to the work and a review of the literature.
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 as 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 (Appendix 2).
71
Wordcount
The dissertation is 10,000 words long (9,000 minimum, 11,000 maximum; excluding
footnotes, appendices [of reasonably short length], filmography and bibliography).
Presentation of the Dissertation
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
Warwickprint (located at Westwood) offers a thesis binding service. You can submit
dissertations or theses electronically at
http://www2.warwick.ac.uk/services/retail/warwickprint/bookbinding/softbinding/ - comb
binding is also acceptable if you prefer.
72
APPENDIX 5
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.)
Satisfactory work meets these requirements and has only minor lapses. It is likely to be
awarded a mark in the mid-fifties. Work which is adequate in several of the above respects,
but weak or defective in some of them, or work which is partially satisfactory but damaged
by significant lapses, is marked on the scale which extends downwards from the low fifties to
a bare pass at forty per cent.
Good and very good work is awarded marks (in the high fifties to mid sixties) that declare the
extra range and individuality of its achievements. The qualities that carry it beyond the scale
of the satisfactory are most often those of thoroughness and penetration in the grasp of the
subject, with liveliness of expression and lucidity of organisation. Clarity is attained while
more complex approaches to the topic are embraced and a more ambitious range of material
is brought under discussion. Intellectual skill is shown in comparing and co-ordinating
disparate sources.
Excellence is recognised when work meets the above criteria fully but surpasses them so as to
display remarkable strengths in terms of industry and insight, and distinguished skills in
argument and expression. (The grades run from the high sixties to the seventies.) Some
aspects of excellence can be further specified in relation to the criteria stated above:
73

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 an awareness of the wider
consequences of its own choices in interpretation and evaluation.

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.
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 judgement 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. In this respect it mirrors the aggregation of
marks from different sources that yields the overall result for a module, as well as the final
classification of a degree.
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. In your second and third years, all grades are advisory, in that an
external examiner can look at any work that may affect the outcome in a borderline case, and
may adjust the marks. It is open to external examiners to propose higher or lower marks to
the Examination Board.
The Department has agreed to follow the University’s Assessment Strategy, approved by
Senate on 29 January 2014, and is thus committed to:

encouraging the active engagement of students in their own learning;
74






supporting and facilitating assessment activities to improve students’ learning;
providing assessments that are accessible and inclusive;
ensuring that students receive timely, meaningful feedback to progress their learning;
supporting departments and colleagues to enable them to develop innovative
assessment methods;
ensuring that assessment is linked to module and course level learning outcomes;
providing assessment methods that take account of the skills and knowledge valued
by potential employers.
Assessment Aims






All students will engage with a range of relevant formative and summative
assessments, clearly linked to the module and course-level learning outcomes.
All assessment processes will be designed to be accessible and inclusive, and aligned
with the University’s Equal Opportunities Statement and all relevant equality
legislation.
Formative and summative assessment will be designed to enable students to
demonstrate the skills and knowledge they have acquired at both module and course
level.
The feedback mechanisms in place will include guidance on how to improve
performance.
Assessment processes and outcomes will be designed to enhance students’ personal
and professional development through the acquisition of skills.
All assessment processes will be designed to embody the underlying principles of:
reliability; validity; equity; timeliness; manageability; and inclusivity.
75
APPENDIX 6
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.
76
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:
Name of Doctor: ................................................................................
Official stamp of Medical Practice:
Signature: ................................................................................
Date: ..............................................
77
University of Warwick
Coventry CV4 7AL
CONFIDENTIAL
PERSONAL SICKNESS CERTIFICATE
PLEASE USE BLOCK LETTERS
1 PERSONAL DETAILS
Surname: ...........................................................................................................
First Name(s):..........................................................................................................
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.
78
APPENDIX 7
UNIVERSITY OF WARWICK
DEPARTMENT OF FILM AND TELEVISION STUDIES
ASSESSED WORK COVER SHEET
Please check that you have followed these rules of presentation:
1.
2.
3.
4.
5.
6.
7.
8.








You have submitted TWO copies
Essay is double spaced
Page numbers
At least 12 point font
Bibliography
Filmography
References
Your essay has been proof-read
Student ID No.:________________________________________
Degree Course________________________ Year____________
Title of Module ________________________________________
Seminar Tutor’s Name___________________________________
Short Title of Essay_____________________________________
Length of Essay as set _______________ words
Length submitted____________________ words
I am aware of the note on plagiarism in the Department handbooks and of
Regulation 11B in the University Calendar concerning cheating in a university test.
The attached work, submitted for a university test, is my own.
Student Signature _______________________ Date_________
This form must be securely attached to your essay
79