UEA MODULE OUTLINE Section 1 General Information Module Title: The Hollywood Studio System Module code: AMAM5042B Credit value: 20 Level (3, 4, 5, 6 or 7): 5 Total student effort hours: 200 Academic Year: 2016/17 Semester: 2 Related modules (Co-requisites, pre-requisites etc.): N/A Section 2 Module Description and Learning Outcomes Description What is this module about? This module will develop students understating of how silent-era, classical and post-classical Hollywood has developed as an industry, balancing the twin demands of creativity and commerce. The module will encourage students to analyse how Hollywood works as an industry, the kind of films it produces, and the ways in which they are consumed by domestic and global audiences. Students will engage with a variety of Hollywood films and be introduced to a range of theories and approaches for analysing how they are produced and consumed. Learning Objectives What will you learn? (subject specific and transferable skills) The learning objectives of this module are to: Provide a comprehensive overview of Hollywood cinema past and present, and consider the potential future of the industry based on this historical assessment Develop your critical understanding and awareness of the different production strategies used by Hollywood studios over the decades Analyse the consumption of Hollywood cinema by examining different modes of historical reception in both domestic and international contexts Examine how Hollywood operates as an industry and consider how this has changed and evolved over time Develop your skills as a film researcher through analysing the commercial, creative, technological and socio-cultural development of Hollywood cinema and present this material through a variety of written, spoken and visual methods Linda Mary Kathleen McCarthy Linda Mary Kathleen McCarthy Linda Mary Kathleen McCarthy 2018 Learning outcomes? What will you be able to do by the end of the module? By the end of the module students should be able to demonstrate the following: Knowledge and Understanding Developed awareness and understanding of the production strategies used by Hollywood across different historical periods Familiarised with the impact of industrial, technological, creative and socio-cultural changes on the structures underpinning the Hollywood system Understand how Hollywood films are consumed by domestic and global audiences, and how this process continues to impact on studio productions Analytical and Critical Skills Critically analyse and evaluate films from across Hollywood history and engage with a wide selection of related concepts, issues and debates Developed ability to select and collate a range of research materials relevant to the study of Hollywood cinema, using differing methods and approaches Construct critical and original arguments that ...

1. UEA MODULE OUTLINE
Section 1
General Information
Module Title: The Hollywood Studio System
Module code: AMAM5042B Credit value: 20 Level (3, 4, 5, 6 or
7):
5
Total student effort
hours: 200
Academic Year: 2016/17 Semester: 2
Related modules (Co-requisites, pre-requisites etc.): N/A
Section 2
Module Description and Learning Outcomes
Description
What is this module about?
This module will develop students understating of how silent-
era, classical
and post-classical Hollywood has developed as an industry,
balancing the

2. twin demands of creativity and commerce. The module will
encourage
students to analyse how Hollywood works as an industry, the
kind of films it
produces, and the ways in which they are consumed by domestic
and global
audiences. Students will engage with a variety of Hollywood
films and be
introduced to a range of theories and approaches for analysing
how they
are produced and consumed.
Learning Objectives
What will you learn? (subject
specific and transferable skills)
The learning objectives of this module are to:
Provide a comprehensive overview of Hollywood cinema past
and
present, and consider the potential future of the industry based
on
this historical assessment
Develop your critical understanding and awareness of the
different
production strategies used by Hollywood studios over the
decades
Analyse the consumption of Hollywood cinema by examining
different modes of historical reception in both domestic and
international contexts

3. Examine how Hollywood operates as an industry and consider
how
this has changed and evolved over time
Develop your skills as a film researcher through analysing the
commercial, creative, technological and socio-cultural
development
of Hollywood cinema and present this material through a variety
of
written, spoken and visual methods
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
2018
Learning outcomes?
What will you be able to do
by the end of the module?
By the end of the module students should be able to demonstrate
the
following:
Knowledge and Understanding
Developed awareness and understanding of the production
strategies used by Hollywood across different historical periods
Familiarised with the impact of industrial, technological,

4. creative
and socio-cultural changes on the structures underpinning the
Hollywood system
Understand how Hollywood films are consumed by domestic
and
global audiences, and how this process continues to impact on
studio productions
Analytical and Critical Skills
Critically analyse and evaluate films from across Hollywood
history
and engage with a wide selection of related concepts, issues and
debates
Developed ability to select and collate a range of research
materials
relevant to the study of Hollywood cinema, using differing
methods
and approaches
Construct critical and original arguments that are informed by,
and
build on, the course screenings, materials and independent /
group
research
Professional Development
Developed project management skills including the ability to
conduct research, apply appropriate methods, and present and
critically evaluate evidence

5. Contribute to seminars through proactive discussion,
showcasing
independent research and working effectively with peers in
group
exercises
Present formative assignments and assessed summative work in
a
clear and accurate manner, conforming to appropriate written
conventions
Improve and develop formative work based on feedback
provided
Manage independent study to meet regular deadlines
Use a range of IT and digital technology to present research
findings
Links
Where does this fit in to your
programme?
Optional for a number of AMA degrees at Level 5
Section 3
Module Teaching Team

6. Module Organiser
(Including brief biographical
description)
Tim Snelson, Lecturer in Media History
Co-tutors on the Module Linda McCarthy, Associate Tutor
Natalie Haygarth, Associate Tutor
Burcu Dabak, Associate Tutor
Section 4
Learning Activities and Indicative Student Effort Hours
Learning Activity Total effort hours
(module) - 200
Indicative Effort hours per
week
a) Class sessions (Lectures, workshops, lab sessions, seminars
etc.)
20 2
b) Pre-class preparation and follow-up study 80 8
c) Work-based or Placement Hours
d) Formative assessments/activities 40 4

7. e) Feedback/Feed-forwards sessions
f) Summative assessments (essays, dissertations, oral
presentations, worksheets, lab reports etc)
40 4
g) Background reading 20 2
h) Exams/OSCEs
i) Course Tests
j) Tutorials (individual or small groups)
Total effort hours (a + b + c + d + e + f + g + h + i + j) = 200
200 20
Section 5
Teaching Sessions
Seminar Programme (where applicable)– details for each
session
Group 1: Friday 9.00-11.00 Arts 2.06 Natalie
Haygarth
Group 2: Friday 11.00-13.00 Arts 1.05 Linda
McCarthy
Group 3: Friday 13.00-15.00 BDS 0.17 Burcu
Dabak

8. Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
LINDA MCCARTHY
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
DISCUSSION SEMINARS:
SESSION ONE: FRIDAY 09:00 - 11:00 IN ART 2.05
SESSION TWO: FRIDAY 11:00 - 13:00 IN BDS 0.18
SCREENINGS:
WEDNESDAYS: 17:00 - 20:00 IN LECTURE THEATRE 3
�
Weekly Breakdown
Week 1. Hollywood: The Art of Commercial Cinema.
Week 2. Silent-cinema – Emergence of Studios.
Week 3. Classical Hollywood Filmmaking.
Week 4. Stars, Genres and Hollywood’s Audiences.
Week 5. Regulating Hollywood.
Week 6. New Hollywood, New Aesthetics.
Week 7. Do Something Different Week (no teaching, see
programme of events)
Week 8. The Hollywood Blockbuster.

9. Week 9. Hollywood v. ‘Indiewood’.
Week 10. Hollywood’s Franchises.
Week 11. Global Hollywood.
Week 12. Workshop week
Screenings
All groups: Wednesday 17.00-20.00 Congregation Hall
0.17
Weekly Breakdown
Week 1. Gravity (Alfonso Cuarón, 2013, USA / UK)
Week 2. The Circus (Charlie Chaplin, 1928, USA) and serial
episode
Week 3. Miracle on Morgan’s Creek (Preston Sturges, 1944,
USA) and selection of shorts
Week 4. Some Like it Hot (Billy Wilder, 1959, USA)
Week 5. Rosemary’s Baby (Roman Polanski, 1968, USA)
Week 6. Grease (Alan Carr, 1978, USA)
Week 7. Do Something Different Week (no screening, see
programme of events)
Week 8. Shrek 2 (Andrew Adamson, 2004, USA)
Week 9. Far From Heaven (Todd Haynes, 2002, USA)
Week 10. Batman (Tim Burton, 1989, USA)
Week 11. Crouching Tiger, Hidden Dragon (Ang Lee, 2000,
China / USA)
Section 6
Learning Support Materials

10. Required (Key) Reading
All in Reading List section of Blackboard
Week 1: Required Reading:
Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford:
Blackwell. ‘Taking
Hollywood Seriously’, pp. 5-32
Week 2: Required Reading:
Gomery, Douglas (1996) ‘The Rise of Hollywood: The
Hollywood Studio
System’, Geoffrey Nowell-Smith (ed.) The Oxford History of
World Cinema.
Oxford: Oxford University Press, pp.43-53
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Week One: It (Joseph von Sternberg, 1927)
Week Two: Lights of New York (Bryan Fay, 1928)
Week Three: Citizen Kane (Orson Welles, 1941)
Week Four: The Prince and the Showgirl (Laurence Oliver,
1967)
Week Five: Spartacus (Stanley Kubrick, 1960)
Week Six: Bonnie and Clyde (Arthur Penn, 1967
Week Eight: Cleopatra (Joseph Mankiewcz, 1963)
Week Nine Far From Heaven (Todd Haynes, 2002)
Week Ten: Batman (Tim Burton, 1989)
Week Eleven: Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
�

11. Gomery, Douglas (1985) ‘The Coming of Sound: Technological
Change in the
American Film Industry’, Tino Balio (ed.) The American Film
Industry,
Madison: University of Wisconsin Press, pp.229-251
Further Background Reading:
Schatz, Thomas. The Genius of the System: Hollywood Film-
making in the
Studio Era. London: Faber, ‘Warner Bros.: Talking their Way to
the Top’,
pp.58-66
Staiger, Janet (1980) 'Mass-Produced Photoplays: Economic and
Signifying
Practices in the First Years of Hollywood', Bill Nichols (ed.)
(1985) Movies &
Methods Volume II. Berkeley: University of California Press,
pp.144-161
Week 3: Required Reading:
Bordwell, David (1985) Narration in the Fiction Film. Madison:
University of
Wisconsin Press, ‘Classical Narration: The Hollywood
Example’, pp.156-166
(extract)
Street, Sarah (1996). History Today. ‘Film in Context: Citizen
Kane’, Vol. 46,
Issue 3, March 1996, pp.48-52 (PDF accessible from library
catalogue)
Further Background Reading:
Kuhn, Annette and Thomas Schatz (2007) 'The Classic Studio
System' and
'Classic Hollywood Narrative' Pam Cook (ed.) The Cinema
Book (3rd ed.)
London: BFI, pp.19-44; 45-48
Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford:
Blackwell,

12. ‘Narrative 1’, pp.452-470
Week 4: Required Reading:
Allen, Robert C and Douglas Gomery (1985) Film History:
Theory and Practice.
London & New York: McGraw Hill, pp.172-189
Ohmer, Susan (2006) George Gallup in Hollywood. New York:
Columbia
University Press. Ch.1 ‘What Do Audiences Want?’, pp.1-12
Further Background Reading
Cook, Pam (ed.) (2007) The Cinema Book (3rd ed.) London:
BFI, 'Part 2: The
Star System', pp.110-125
Dyer, Richard (2003) Heavenly Bodies: Film Stars and Society
(2nd ed.)
London: Routledge, ‘Monroe and Sexuality’, pp.17-63
E-Book:
http://lib.myilibrary.com/Open.aspx?id=419648&src=0.
If accessing from off-campus, you will need to ‘select your
institution’ (you
may need to click ‘Shibboleth’ or ‘Athens’ to do this) and
choose ‘University
of East Anglia’ to log-in
McDonald, Paul (2013) Hollywood Stardom. Malden: Wiley-
Blackwell, ‘The
Symbolic Commerce of Hollywood Stardom’, pp.11-40
Week 5: Required Reading:
Maltby, Richard (1996) ‘Censorship and Self-Regulation’,
Geoffrey Nowell-
Smith (ed.) The Oxford History of World Cinema. Oxford:
Oxford University
Press, pp.235-248
Week 6: Required Reading:
Bordwell, David (2006) The Way Hollywood Tells It: Story and

13. Style in Modern
Movies. Berkley: University of California Press, ‘Intensified
Continuity: Four
Dimensions’, pp.121-138
Wyatt, Justin (1994) High Concept: Movies and Marketing in
Hollywood.
Austin: University of Texas Press, pp.1-23
Further Background Reading:
Gomery, Douglas (1996) 'The New Hollywood', Geoffrey
Nowell-Smith (ed.)
The Oxford History of World Cinema. Oxford: Oxford
University Press, pp.475-
482
Schatz, Thomas (1993) ‘The New Hollywood’, Jim Collins,
Hilary Radner and
Ava Preacher Collins (eds.) Film Theory Goes to the Movies,
New York:
Routledge, pp.8-36
Week 8: Required Reading:
Gomery, Douglas (2003) ‘The Hollywood Blockbuster:
Industrial Analysis and
Practice’, Stringer, Julian (ed.) Movie Blockbusters. London:
Routledge,
‘Introduction’, pp.72-83
Jones, Kent (1996) ‘The Summer of Our Malcontent’, Film
Comment, Vol.32,
No.5, Sept-Oct 1996, pp.3-4; 7-8
King, Geoff (2000) Spectacular Narratives: Hollywood in the
Age of the
Blockbuster. London: I.B Tauris, ‘Frontier Narrative and
Spectacle in Twister
and Independence Day’, pp.17-40

14. Further Background Reading:
Bordwell, David (2006) The Way Hollywood Tells It: Story and
Style in Modern
Movies. Berkley: University of California Press, ‘A Certain
Amount of Plot:
Tentpoles, Locomotives, Blockbusters, Megapictures and the
Action Movie’,
pp.104-114
King, Geoff (2002) New Hollywood Cinema. London: I.B
Tauris, ‘Narrative vs.
Spectacle in the Contemporary Blockbuster’, pp.178-223
Week 9: Required Reading:
Schatz, Tom (2008), ‘The Studio System and Conglomerate
Hollywood’, Paul
McDonald and Janet Wasko (eds.) The Contemporary
Hollywood Film
Industry. Malden: Blackwell Publishing Ltd., ‘The Indie Film
Movement’;
‘Reconciling the Two Hollywoods’; ‘New Millennium – New
Equilibrium’,
pp.29-42
Wyatt, Justin (1998) 'The Formation of the "Major
Independents": Miramax,
New Line and the New Hollywood', Steve Neale and Murray
Smith (eds.)
Contemporary Hollywood Cinema. London: Routledge, pp.74-90
Further Background Reading
King, Geoff (2007) 'The Major Independents', Pam Cook (ed.)
The Cinema
Book (3rd ed.) London: BFI, pp.54-59
Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford:
Blackwell,
‘Industry 3: Since 1980’, pp.189-226
Week 10: Required Reading:

15. Johnson, Derek (2013) Media Franchising: Creative License and
Collaboration
in the Culture Industries, New York: New York University
Press, ‘Imagining the
Franchise: Structures, Social Relations and Cultural Work’,
pp.27-46
Meehan, Eileen R (1991) ‘Holy Commodity Fetish, Batman!’,
Roberta E.
Pearson and William Uricchio (eds.), The Many Lives of
Batman: Critical
Approaches to a Superhero and his Media, New York: BFI-
Routledge, pp.47-65
Further Background Reading
Drake, Philip (2008) ‘Distribution and Marketing in
Contemporary Hollywood’,
Paul McDonald and Janet Wasko (eds.) The Contemporary
Hollywood Film
Industry. Malden: Blackwell Publishing Ltd., pp.63-82
Week 11: Required Reading:
Miller, Toby (et al.) (2005) Global Hollywood 2. London:
British Film Institute,
‘The New International Division of Cultural Labour’, pp.111-
123; 149-151
Trumpboar, John (2008) ‘Hollywood and the World: Export or
Die’, Paul
McDonald and Janet Wasko (eds.) The Contemporary
Hollywood Film
Industry, pp.209-219
Further Background Reading:
Balio, Tina (1998) ‘A Major Presence in all of the World’s
Important Markets:
The Globalisation of Hollywood in the 1990s’, Steve Neale and

16. Murray Smith
(eds.) Contemporary Hollywood Cinema, London: Routledge,
pp.58-73
Lent, John A. (2008) ‘East Asia: For Better or Worse’, Paul
McDonald and
Janet Wasko (eds.) The Contemporary Hollywood Film
Industry. Malden:
Blackwell Publishing Ltd., pp.275-284
Recommended further
screenings
Some useful films to watch get a flavour of how Hollywood
tells stories about
itself;
Week 2: “Artist” Michel Hazanavicius- 2011
“Singin`in the Rain” Stanley Donen, Gene Kelly-
1952
“Sunset Boulevard” Billy Wider- 1950
Week 3: “RKO 281” Benjamin Ross- 1999
“The film depicts the troubled production behind the 1941 film
Citizen Kane. The
film's title is a reference to the original production number of
Citizen Kane.”
Week 4: “ A Star is Born” George Cukor – 1954
Week 5: “Trumbo” Joy Roach- 2015
“In 1947, Dalton Trumbo (Academy Award Nominee Bryan
Cranston) was

17. Hollywood’s top screenwriter until he and other artists were
jailed and blacklisted
for their political beliefs. TRUMBO (directed by Jay Roach)
recounts how Dalton
used words and wit to win two Academy Awards and expose the
absurdity and
injustice of the blacklist…..”
Week 6: “ Easy Riders, Raging Bull: How the sex, drug and
Rock` n Roll
generation saved the Hollywood” Kenneth Bowser – 2003
“A look at 1970s Hollywood when it was known as New
Hollywood, and the
director was the star of the movie.”
Week 9: “ Ed Wood” Tim Burton- 1994
Other relevant study
materials (e.g.
CD/video/DVD resources, e-
Books/Blackboard etc.)
Range of primary sources (including compulsory film
screenings)
Section 7
Formative Assessment

18. Formative assessment is assessment for learning as opposed to
summative assessment which is assessment of
learning. Its key purpose is to enable you to practice and
demonstrate the academic skills and knowledge that
you will be required to apply in your subsequent summative
work, and to receive early feedback from your
tutor(s).
Assessment Type Assignment
Deadline
Method of
submission
(in class,
drop box,
electronic
etc.)
Return Date
of marked
work (where
appropriate)
Method
of return
Format and Purpose of feed-
back feed-forwards
Formative Wednesday
7th March
by 3pm
(week 8)

19. Evision Week 10 Via HUB Feedforward for summative
Assignment detail (e.g. title and type, word limit, presentation
length)
Research Essay Plan (500 words)
You should complete the Research Essay Plan provided on
Blackboard by Week 8. This plan will provide a
structured overview of your project aims and objectives.
To be submitted by Week 8 - Wednesday 7th March 2017,
before 3pm, via E-Vision
Individual feedback will be provided on your project plan
during Week 10.
Please copy and paste the above box for additional elements of
formative assessment
Section 8
Summative Assessment
Research essay (100%) 2500 words (see below)
To be submitted by Week 13 – Wednesday 17th May 2017,
before 3pm, via Evision
Assessment
Type
%
Weighting

20. Assignment
Deadline
Method of
submission
Return
Date of
marked
work
Format of
feed-back
Word
limit
Method of
return
CW -
Coursework
100 3pm
Wednesday
Evision By 12th
June
Written
feedback
sheet
2500 Hub

21. Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
At the
end of
week 11 �
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
2
weeks
after
submission�
17th May
(Week 13)
Assignment title and further details (e.g. presentation length):
Research Essay (2500 words)
You will select an aspect of Hollywood’s Studio System studied
this semester by Week 8. This topic will form
the basis of your research project. You can choose from the
following topics (and you should select specific
examples to compare):

22. A specific technological aspect of Hollywood filmmaking (e.g.
sound recording/design;
cinematography; editing; colour technologies; wide-screen)
Directors and Studios (examining the relationship between the
two)
Stars and Studios (examining the relationship between the two)
Hit films and Blockbusters (comparing the Studio era with the
post-Studio era)
A specific type of epiphenomena (e.g. posters, trailers,
merchandise)
You should then choose two periods:
Silent era
Studio era
Post-Studio era
You will compare and contrast the way your chosen topic works
in these two periods. The use of pertinent
case studies and specific examples is required.
Please note: If you wish to study an aspect of the Hollywood
Studio System not indicated in the topic list
above, then you should negotiate your topic with your module
tutor. All research essays MUST receive
approval from your module tutor.
The research essay should be presented using normal academic
practices (referencing, argument and
analysis) but should be structured as follows:
1. Introduction – Explain the question/s you are asking about

23. your chosen topic in your two chosen periods,
and what you intend to argue in relation to your research
findings.
2. Method(s) – You should outline how you intend to answer
your question/s, being clear about how your
research project builds on similar, previous research.
3. Research Findings – In this section you should present your
analysis of your case studies, answering the
question/s outlined in your introduction. You will also need to
present your research findings in a visual
format (to be confirmed before Week 6).
4. Conclusion – From your analysis, what conclusions can be
drawn about this aspect of Hollywood’s Studio
System? How do your two chosen historical periods compare
and relate to the Hollywood Studio System
more broadly?
5. Appendix* – You should provide at least one Appendix (inc.
primary data sets, e.g. images, graphs, charts,
box office data or other statistics, reception materials).
*Not included in word-count but compulsory part of assessment
Linda Mary Kathleen McCarthy
Section 9

24. Mapping Assessment to Module Learning Outcomes
Using the boxes below, indicate which outcomes may be
demonstrated in the relevant summative assessments.
Learning Outcomes
Summative
Ass 1
Summative
Ass 2
Summative
Ass 3
Summative
Ass 4
Knowledge and understanding X
Analytical and Critical Skills
X
Professional Development X
Section 10
Attribute development
On this module you will develop knowledge, insights and

25. attributes that are readily transferable into future or current
work settings. The attributes are articulated below so you can
understand how the module will help you thrive on your
course and prepare you for the world of work. These attributes
are also articulated within the UEA Award. Please
indicate by checking (X) those sub-attributes that will be
demonstrated via engagement with this module.
Academic excellence
Critical thinking &
problem solving
Learning & personal
development
Digital literacy and IT
In-depth and extensive
knowledge,
understanding and skills
in chosen discipline(s)
☒
A capacity for
independent,
conceptual and
creative thinking
☒
A commitment to
developing professional
values, self-insight and

26. capabilities
☒
Confidently employ a
range of digital
technologies for academic
and professional/ career
development purposes
☒
The ability to collect,
collate, analyse and
critically engage with a
wide range of
information sources,
and evidence
☒ A capacity for informed argument
and logical reasoning
☒
The ability to respond
positively to
constructive criticism
and feedback from
peers, tutors and
colleagues

27. ☐
Use appropriate digital
technologies and
resources to locate
diverse types of
information for both
academic and non-
academic purposes
☒
The ability to analyse
and critically engage
with a wide range of
concepts and ideas
☒
A capacity for problem
identification and
problem-solving
☐
Self-confidence and an
ability to exercise own
‘voice’

28. ☐
The ability to critically
evaluate and engage with
the information obtained
☒
Self-management &
professionalism
Team working and
leadership
Communication
Applied numeracy and
technical proficiency
A capacity for taking
responsibilities and
ownership of actions
☒
An ability to co-
operate and
collaborate with
others, including
working to shared aims
☐

29. An ability to
communicate in
written form for
different purposes,
audiences and contexts
☐
An ability to perform
routine calculations in
daily tasks and in applied
contexts
☒
An ability to manage
time effectively,
including setting
priorities, juggling
competing demands and
meeting deadlines
☒
An ability to take other
viewpoints, have
empathy for other
people’s position and
give constructive
feedback
☒

30. An ability to
communicate in
person for different
purposes, audiences
and contexts
☒ An ability to analyse and interpret data and
evidence
☒
An understanding of
work cultures and
practices, including work
place professionalism
☐
An ability to motivate
and lead others,
including taking the
initiative and
delegating when
required
☐ An ability to network effectively with others
for specific purposes

31. ☐
Proficiency in skilled
techniques used for
academic and
professional purposes
☐
Career management Commercial awareness
Innovation and
enterprise
Citizenship and
stewardship
A capacity to reflect on
and articulate qualities,
strengths and attributes
☐
A knowledge of the
link between academic
subjects and their
commercial
applications
☒
The confidence to
introduce and establish

32. something new
☐
An understanding of your
place within local and
global communities
☐
The ability to research
specific job and career
areas
☐
An understanding of
business priorities and
the needs of graduate
employers
☐
The potential to take an
idea through to its
practical application
☒
An awareness of the need

33. to manage shared and
finite resources, including
an appreciation of moral
and ethical dimensions
☐
An ability to present
your experience and
attributes positively to
graduate employers
☐
The ability to
understand and
prioritise customer
needs
☐ The potential to apply an enterprising mind-
set to situations
☐
An ability to improve the
lives of others and lobby
for positive change
through community
and/or political
engagement

34. ☐
Section 12
Useful Links
The following hot links provide quick and easy access to key
sources of information and sources of support within
the University and important policies that you need to be aware
of.
General Regulations
Attendance and Engagement & Progression (General Regulation
13)
Coursework Submission Process
Plagiarism and Collusion Policy
Extenuating Circumstances Policy
Senate Marking Scales (UG and PGT)
Support for Students with Specific Learning Difficulties
(SpLDs)
Learning Enhancement Team (DOS)
Link to Past Examination Papers

35. Other useful links and sources of information, guidance and
policies can be found in the LTS Document Library.
Click this Link
V1 December 2014
Section 11
Module Enhancements
Changes made to this module in the light of student feedback
and Module Review
More diverse screenings and opportunities for more discussion
Guidance for Academic Staff when Completing this Module
Outline Template
Please use language which is free of unnecessary jargon and
acronyms. Delete or mark as not
applicable any sections which do not apply to a particular
module – but please check before doing so
that this is, in fact, the case. It might be appropriate to
customise information in the outline if the

36. modules are delivered online. Module Organisers may add any
further information they believe to
be useful to students to the outline.
Section 1 – General Information
Basic but crucial information is provided here. Staff should note
that in accordance with the QAA’s
Framework for Higher Education Qualifications (FHEQ), the
old levels 1, 2, 3 (UG) and Masters levels
have been replaced by Levels 4, 5, 6 (UG) and Level 7
(Masters). See 4. below for Student Effort
Hours.
Section 2 – Description and Learning Outcomes
The description needs to reflect the salient features of the
module whilst ideally being less than 100
words. The description should be written in an accessible style
and should emphasise any innovative
elements in the teaching approach (e.g. the use of technology-
enhanced learning).
Section 3 – Module Organiser and Teaching Team
A brief biographical description of the Module Organiser and/or
the other module lecturers is often
valued by students. These should be brief (i.e. less than 100
words) and accessible and could include
a link to the person’s web-page.
Section 4 – Learning Activity & Student Effort Hours
Student Effort Hours: In accordance with FHEQ/QAA
guidance, student effort hours will be based on
the following number of total effort hours per credit: 1 credit =
10 student effort hours. This results
in the following effort hours totals:
Module Credit Value Total Student Effort Hours (QAA)

37. 20 200
30 300
40 400
60 600
80 800
Please ensure that you indicate how student effort hours are
distributed across the module. This
information ensures that students are better prepared for their
studies and better-equipped to
allocate time to specific aspects of the learning experience.
Delete or mark as not applicable any
sections which do not apply to a particular module.
Note: Given the diversity of pedagogical approaches and
learning activities within modules across
the 4 faculties, it is not expected that a figure for ‘effort hours’
is allocated for all categories (a – j) in
the table above – a figure is only required where relevant or
appropriate for the module concerned.
Section 5 – Teaching Sessions
Module Organisers should use this section to indicate the
sequence of scheduled (timetabled)
sessions, including lectures, seminars, lab sessions, tutorials,
placements etc.
Section 6 – Learning Support Materials
A wide range of materials can be flagged in this section,
including books, journals, websites, e-
Journals, e-Books, magazines, newspapers, DVDs, CDs, Videos,
etc. This information, along with any
accompanying reading list, should also be forwarded to the
Library in advance to ensure resources
are in place and key readings made available via Blackboard if
appropriate.

38. Section 7 – Formative Assessment
Formative assessment should be included in modules. It
provides students with an excellent
opportunity to test their understanding of material, receive
feedback on their work and achieve a
better understanding of what is required at a given level of
study. Formative assessment does not
count towards the final module mark. It is designed to help
inform a student, developing subject
matter and skills, all of which are measured within summative
assessment (which counts towards
the module mark). The information may also be used to inform
the Module Convenor as to the
student’s level of engagement for other purposes. There is no
requirement for formative
assessment to be marked anonymously. Module Organisers are
encouraged to ensure a ratio of at
least 1:1 between formative and summative assignments.
Formative work should underpin
summative assessment and can take many forms, such as a
specific assessment that is submitted or
exercises in laboratory or seminar classes where students are
given feedback directly. Formative
assignments should be returned in a timely manner such that
students are able to draw on the
feedback they receive prior to completing and submitting their
related summative assessments.
Section 8 – Summative Assessment
Summative assessment counts towards the final module mark.
Summative assignments (with the

39. notable exception of projects and dissertations) should be
returned as quickly as possible, and no
later than 20 working days. Assignment deadlines can only be
set on Monday to Thursday and only
on days when the University is open for business.
The word limit indicated will be displayed to students on
eVision and on the coursework coversheet.
Where an assessment is by examination, please indicate if this
will take place in the main series or
some other time. Where assessment is by Course Test, please
indicate the date and time of the test
and whether the test will take place in- class or will be formally
invigilated, in which case the request
will be made to the Assessments and Quality Office by LTS
team members.
The total assessment weightings of all summative pieces for the
module must add up to 100%. All
items which have a percentage attached must be listed
individually.
Section 9 – Mapping Assessments to Module Learning
Outcomes
This section makes it clear to students how the assessments on
the module will enable them to
demonstrate the achievement of the module’s Learning
Outcomes.
Section 10 – Attribute Development
Students need to understand how modules will develop
attributes beneficial to their academic
progression and desirable to graduate employers. Module
Organisers can use this section to indicate
specific attributes that students will have the opportunity to
gain. This might include both

40. disciplinary-specific knowledge and skills, and attributes of a
more generic, transferable nature (e.g.
effective communication, team-working). Individual modules
are not expected to include all
attributes.
Section 11 – Module Enhancements
It is important that students know how they will be able to give
feedback on their modules, both
during the module and after they have completed it. But it is
also critically important that students
know how Module Organisers have acted upon the feedback
received. Module Organisers should
ensure that they convey actions taken in the light of feedback to
the students who provided it. This
should be done quickly after the data in online module
evaluations is received by MOs. It is also
important that the next cohort of students on a module know
that their feedback will be taken
seriously. This is best demonstrated by ensuring that quality
enhancement actions taken to address
the concerns of the previous cohort are communicated in the
Module Outline. Research in the
sector demonstrates clearly that students are much more likely
to provide feedback if they can see
for themselves how previous student feedback has been
embraced and acted upon. It is expected,
within Chapter B5 of the UK Quality Code, that the feedback
loop is closed, hence the inclusion of
Section 11 in this template. In this section Module Organisers
may also articulate how, for example,
students can use the student representation system (their student
reps) to feedback issues via

41. School SSLCs, and they can also explain that an online module
evaluation will be available, with the
opening and closing date clearly conveyed.
Section 12 – Useful Links
Staff may add other hot links to this section that they feel are
particularly useful for students.
Th
e
Ho
lly
w
oo
d
St
ud
io
S
ys
te
m
: A
t

42. A
G
la
nc
e
G
ui
de
W
ee
k
To
pi
c
Sc
re
en
in
g
Sk
ill
s

43. Tr
ai
ni
ng
A
ss
es
sm
en
ts
a
nd
R
et
ur
n
of
W
or
k
1
Ho
lly

44. w
oo
d:
T
he
A
rt
o
f
Co
m
m
er
ci
al
C
in
em
a
G
ra
vi
ty

45. (A
lfo
ns
o
Cu
ar
ón
, 2
01
3,
U
SA
/
U
K)
O
ve
rv
ie
w
o
f M
od

46. ul
e
Gr
ou
p
Se
m
in
ar
D
isc
us
sio
n
2
Si
le
nt
-c
in
em
a
–

47. Em
er
ge
nc
e
of
St
ud
io
s
Th
e
Ci
rc
us
(C
ha
rli
e
Ch
ap
lin
, 1

48. 92
8,
U
SA
) a
nd
se
ria
l e
pi
so
de
In
de
pe
nd
en
t R
es
ea
rc
h

49. - C
rit
ic
al
Re
fle
ct
io
n
3
Cl
as
sic
al
H
ol
ly
w
oo
d
Fi

50. lm
m
ak
in
g
M
ira
cl
e
on
M
or
ga
n’
s C
re
ek
(P
re
st
on
S
tu
rg

51. es
,
19
44
, U
SA
) a
nd
se
le
ct
io
n
of
sh
or
ts
In
de
pe
nd
en
t R

52. es
ea
rc
h
–
Ca
se
S
tu
dy
an
d
Cr
iti
ca
l S
um
m
ar
y
4
St

53. ar
s,
G
en
re
s a
nd
Ho
lly
w
oo
d’
s A
ud
ie
nc
es
So
m
e
Li
ke

54. it
H
ot
(B
ill
y
W
ild
er
, 1
95
9,
U
SA
)
Gr
ou
p
Re
se
ar
ch
–
p

55. re
se
nt
at
io
n
of
fin
di
ng
s i
n
se
m
in
ar
5
Re
gu
la
tin

56. g
Ho
lly
w
oo
d
Ro
se
m
ar
y’
s B
ab
y
(R
om
an
P
ol
an
sk
i,
19

57. 68
, U
SA
)
Se
co
nd
ar
y
so
ur
ce
h
an
dl
in
g
6
N
ew
H
ol
ly

58. w
oo
d,
N
ew
Ae
st
he
tic
s
G
re
as
e
(A
la
n
Ca
rr
, 1
97
8,
U

59. SA
)
In
de
pe
nd
en
t R
es
ea
rc
h
–
Pr
im
ar
y
so
ur
ce
h
an
dl

60. in
g
an
d
cr
iti
ca
l n
ot
es
7
DO
S
O
M
ET
HI
N
G
DI
FF
RE
N
ET

61. W
EE
K:
S
EE
P
RO
GR
AM
M
E
8
Th
e
Ho
lly
w
oo
d
Bl
oc
kb
us

62. te
r
Sh
re
k
2
(A
nd
re
w
A
da
m
so
n,
2
00
4,
U
SA
)
Gr
ou

63. p
Re
se
ar
ch
–
S
em
in
ar
D
eb
at
e
(c
rit
ic
al
a
na
ly
sis
; g
ro

64. up
w
or
k)
Fo
rm
at
iv
e:
H
an
d
in
re
se
ar
ch
e
ss
ay
p
la
n

65. by
W
ed
ne
sd
ay
7
th
M
ar
ch
a
t 3
pm
9
Ho
lly
w
oo
d
v.
‘I
nd
ie

66. w
oo
d’
Fa
r
Fr
om
H
ea
ve
n
(T
od
d
Ha
yn
es
, 2
00
2,
U
SA
)

67. In
de
pe
nd
en
t R
es
ea
rc
h
–
Ca
se
S
tu
dy
an
d
Cr
iti
ca
l S

68. um
m
ar
y
10
Ho
lly
w
oo
d’
s F
ra
nc
hi
se
s
Ba
tm
an
(T
im
B

69. ur
to
n,
1
98
9,
U
SA
)
In
de
pe
nd
en
t R
es
ea
rc
h
Fe
ed
ba
ck

70. fo
r f
or
m
at
iv
e
vi
a
HU
B
11
Gl
ob
al
H
ol
ly
w
oo
d
Cr
ou

71. ch
in
g
Ti
ge
r,
H
id
de
n
D
ra
go
n
(A
ng
L
ee
,
20
00
, C
hi
na

72. /
U
SA
)
Gr
ou
p
Se
m
in
ar
D
isc
us
sio
n
12
W
or
ks
ho
p

73. w
ee
k
N
o
sc
re
en
in
g
Re
se
ar
ch
P
ro
je
ct
R
ef
in
em

74. en
t
13
H
an
d
in
R
es
ea
rc
h
Pr
oj
ec
t
be
fo
re
3
pm

75. ,
W
ED
N
ES
D
A
Y
17
th
M
A
Y
20
17
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy

76. Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
It (Sternberg, 1927)
Linda Mary Kathleen McCarthy
Linda Mary Kathleen McCarthy
Lights of New York (Fay, 1928
Linda Mary Kathleen McCarthy
Citizen Kane (Welles, 1941)
Linda Mary Kathleen McCarthy
The Prince and the Showgirl (Olivier, 1967)
Linda Mary Kathleen McCarthy
Spartacus (Kubrick, 1960)
Linda Mary Kathleen McCarthy
Cleopatra (Mankiewcz, 1963)
The research essay should be presented using normal academic
practices (referencing, argument and analysis) but should be
structured as follows:

77. 1. Introduction – Explain the question/s you are asking about
your chosen topic in your two chosen periods, and what you
intend to argue in relation to your research findings.
2. Method(s) – You should outline how you intend to answer
your question/s, being clear about how your research project
builds on similar, previous research.
3. Research Findings – In this section you should present your
analysis of your case studies, answering the question/s outlined
in your introduction. You will also need to present your
research findings in a visual format (to be confirmed before
Week 6).
4. Conclusion – From your analysis, what conclusions can be
drawn about this aspect of Hollywood’s Studio System? How do
your two chosen historical periods compare and relate to the
Hollywood Studio System more broadly?
5. Appendix* – You should provide at least one Appendix (inc.
primary data sets, e.g. images, graphs, charts, box office data or
other statistics, reception materials).
To explore visual meaning in posters from the studio and post-
studio era through a social semiotic approach, to assess their
representation of women and if it was systemic of American
culture.
· Just make sure to make your argument very clear and manifest
defining terms and presenting clear cultural connectivity. –
lecturers comment on question
Methods: Historical and Social semiotics of visual
communication which involves the description of semiotic
resources, what can be said and done with images (and other
visual means of communication) and how the things people say
and do with images can be interpreted.