Course coordinator
Dr Lisa Bode
Please email me at l.bode@uq.edu.au with your questions or concerns, or to make an appointment for a consultation.
Course overview
- Study period
- Semester 2, 2025 (28/07/2025 - 22/11/2025)
- Study level
- Undergraduate
- Location
- St Lucia
- Attendance mode
- In Person
- Units
- 2
- Administrative campus
- St Lucia
- Coordinating unit
- Communication & Arts School
This course provides students with a historical understanding of film and television in terms of aesthetic, technological, social, economic and industrial frameworks and their interrelationships.
Film and television are two the of most powerfulﾠand influential forms of narrative art and cultural transmission of the 20th and 21st Centuries. But where did they come from, how and why have they evolved over time, and what impacts are new technologies such as AI and streaming platforms having on how they are made and how we experience them? MSTU2160 is the compulsory second year course of the Film and Television Studies major. It examines key moments of technological change in film and TV, from the emergence of film in the late 19th Century, to the coming of sound in the late 1920s, the rise of television as a mass entertainment medium in the 1940s and 50s, to the current era of computer generated imagery, digital effects, Generative AI and streaming. This course will give studentsﾠa strong understanding of how these two media evolved as popular artforms and cultural forces; an ability to identify how the development of media technologies is shaped by cultural, political, and economic factors; the impact of technological change on creative practice and screen aesthetics; and how artists working in screen production have explored and shaped the creative potential and limits of new technologies. It will also teach key research and analysis skills, such as how to design a small research project; how to find, contextualise, and analyse historical sources; and how to identify and analyse changes and patterns of influence in screen style.
Course requirements
Assumed background
ﾠStudents need to PASS theﾠcourse, MSTU1001 Introduction to Film and Television Studies,ﾠbefore attempting MSTU2160 Film and Television History.ﾠ
Prerequisites
You'll need to complete the following courses before enrolling in this one:
MSTU1001
Course contact
Course staff
Lecturer
Dr Lisa Bode
Timetable
The timetable for this course is available on the UQ Public Timetable.
Additional timetable information
Whilst every effort is made to place students in their preferred activity, it is not always possible for a student to be enrolled in their tutorial of choice. If you require assistance, please ensure that you email timetabling.commarts@enquire.uq.edu.au from your UQ student email with:
- Your name
- Your student ID
- The course code
- A list of three tutorial preferences (in order of preference)
- Reason for the change – e.g. timetable clash, elite athlete status, SAP
Teaching staff do not have access to change tutorials or help with timetables; all timetabling changes must be processed through the Timetabling Team.
Aims and outcomes
This course aims to give students an understanding of theﾠindustrial and cultural factors that have instigated technological change in film and TV andﾠenabled some screen production cultures to become dominant, as well as the expressive possibilities of new technologies and techniques, and the ways these possibilities are taken up, reshaped, or discarded, in different cultural contexts. ﾠ
It aims to teach skills in using digital archives and analysing primary historical sources.
It aims to enable students to formulate hypotheses about the application of new technologies in film and television and their expressive possibilities, while analysing how cultural and industrial factors may shape these possibilities.
Learning outcomes
After successfully completing this course you should be able to:
LO1.
Grasp theoretical approaches and scholarly debates used to identify, explain, and analyse changes and continuities in film and TV form, style, and viewer experience over time; and apply and test these explanations against new examples.
LO2.
Understand how film and TV industries, creators, and audiences have driven, rejected, negotiated, or responded to technological changes across different historical periods and contexts, and be able to identify and explain recurring patterns and anomalies in these responses.
LO3.
Design and develop an independent film and TV history research project, and navigate digital databases and library search systems.
LO4.
Apply skills in locating, contextualising, analysing, and evaluating primary sources; and synthesise this analysis into clear, evidence-based written arguments.
LO5.
Apply skills in close viewing and listening to identify significant formal and stylistic elements in screen works; and clearly describe these elements to support arguments in written or video assignments.
LO6.
Have experience participating in weekly group discussions, and engaging productively with the perspectives, observations, and ideas of others.
Assessment
Assessment summary
| Category | Assessment task | Weight | Due date |
|---|---|---|---|
| Participation/ Student contribution |
Seminar participation and engagement
|
10% 1 mark per week x 10 weeks |
Week 2 - Week 12 |
| Project, Reflection, Tutorial/ Problem Set |
Workshop in-class writing and exercises
|
30% 10 weeks, 5 marks per week, best 6 workshop exercises count for the final mark |
5/08/2025 - 22/10/2025 |
| Project |
Media Archaeology Project
|
30% 2000 words |
19/09/2025 4:00 pm |
| Essay/ Critique | historical screen aesthetics essay or video essay and written introduction | 30% 2000 words |
31/10/2025 4:00 pm |
Assessment details
Seminar participation and engagement
- In-person
- Mode
- Activity/ Performance, Oral, Written
- Category
- Participation/ Student contribution
- Weight
- 10% 1 mark per week x 10 weeks
- Due date
Week 2 - Week 12
- Other conditions
- Time limited.
- Learning outcomes
- L01, L02, L03, L05, L06
Task description
Attend, participate, and engage in the weekly course seminars. Write your name on the seminar sign-in sheet so that your attendance is recorded, and, in response to seminar questions and prompts, raise your hand to speak into the microphone or write your responses to in-class questions into the Google Doc during class time. The google doc link will be made available shortly before class via blackboard and your student email. It will be closed 10 minutes after the class ends. From week 2, 1 mark is available for each seminar where your participation/engagement is recorded.
This assessment task is to be completed in-person. The use of generative Artificial Intelligence (AI) or Machine Translation (MT) tools will not be permitted. Any attempted use of AI or MT may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
submit in seminar
Deferral or extension
You cannot defer or apply for an extension for this assessment.
Please note: this is a class assessment item and students are NOT able to apply for an extension via the Unitask portal. Please contact your tutor or course coordinator directly to see if alternative arrangements are available.
Workshop in-class writing and exercises
- Identity Verified
- In-person
- Mode
- Written
- Category
- Project, Reflection, Tutorial/ Problem Set
- Weight
- 30% 10 weeks, 5 marks per week, best 6 workshop exercises count for the final mark
- Due date
5/08/2025 - 22/10/2025
- Other conditions
- Longitudinal.
- Learning outcomes
- L01, L02, L03, L04, L05, L06
Task description
Each week in workshops (starting week 2) there will be a timed writing exercise that must be completed on the provided worksheet (you are responsible for bringing your own pen or pencil). Students are not permitted to access devices of any kind during the timed task, but may consult printed or handwritten notes.
The exercises will be different each week. From weeks 2-7 the exercises will be concerned with process notes, research project design, and media archaeology work which you may use as either practice or the starting point for your media archaeology project (30%). This gives you the option to complete part of the work for the media archaeology assignment in your workshops and receive marks for that work and informal group feedback as you progress. The exercises from weeks 8-12 will be geared towards writing aesthetic analysis of film segments shown in class. This will help you practice and develop ideas for your final historical aesthetic analysis assignment due in week 13.
Feedback will be given informally . Tutors will collect the worksheets afterwards to record completion of the assessment task. Each will be marked out of 5. Your best 6 workshop exercises will count towards your final mark out of 30. To check this grade during the semester, please ask your tutor.
This assessment task is to be completed in-person. The use of generative Artificial Intelligence (AI) or Machine Translation (MT) tools will not be permitted. Any attempted use of AI or MT may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
Submitted in workshops
Deferral or extension
You cannot defer or apply for an extension for this assessment.
Please note: this is a class assessment item and students are NOT able to apply for an extension via the Unitask portal. Please contact your tutor or course coordinator directly to see if alternative arrangements are available.
Media Archaeology Project
- Mode
- Product/ Artefact/ Multimedia, Written
- Category
- Project
- Weight
- 30% 2000 words
- Due date
19/09/2025 4:00 pm
- Other conditions
- Longitudinal.
- Learning outcomes
- L01, L02, L03, L04
Task description
For this task you will design your own media archaeology project, driven by your own curiosity about film or TV history in connection to one of the topics from the first half of the course, following a project template (which will be provided on Blackboard). You will have the opportunity to build the foundations for your project across the workshop exercises for weeks 2-7, and may use work completed in class as either practice or the starting point for the project. The purpose of this assignment is to give you the chance to cultivate your historical curiosity about film and TV, and to develop practical research skills (which are useful beyond this course) such as how to ask research questions; how to navigate databases to find information that will help answer those questions; and how to present and evaluate different kinds of sources. Please see Blackboard for detailed instructions.
This task has been designed to be challenging, authentic and complex. Whilst students may use AI and/or MT technologies, successful completion of assessment in this course will require students to critically engage in specific contexts and tasks for which artificial intelligence will provide only limited support and guidance.
A failure to reference generative AI or MT use may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
Submit via TurnItIn
TurnItIn Receipts:
Assignments for this course will be submitted electronically via Blackboard and using TurnItIn. Before submitting any assignments for this course you must ensure you have completed UQ's compulsory online Academic Integrity Tutorial.
When you successfully submit your assessment to TurnItIn you will see text confirming your submission is complete, before being redirected to your Assignment inbox. On this page you can:
- View the name of the submitted file
- View date and time of the upload
- Resubmit your paper (if necessary)
- Download your submitted paper
- Download digital receipt.
If you cannot see your submission in your Assignment inbox you should regard your submission as unsuccessful. Students are responsible for retaining evidence of submission by the due date for all assessment items, in the required form (e.g. screenshot, email, photo, and an unaltered copy of submitted work).
If the submission was not successful:
- Note the error message (preferably take a screenshot).
- Go to your assignment page and see if it is possible to submit again.
- If you cannot submit again email your course coordinator immediately with the assignment attached.
Please visit this webpage for further advice on how to submit your TurnItIn assignment.
Deferral or extension
You may be able to apply for an extension.
The maximum extension allowed is 28 days. Extensions are given in multiples of 24 hours.
Late submission
A penalty of 10% of the maximum possible mark will be deducted per 24 hours from time submission is due for up to 7 days. After 7 days, you will receive a mark of 0.
historical screen aesthetics essay or video essay and written introduction
- Mode
- Product/ Artefact/ Multimedia, Written
- Category
- Essay/ Critique
- Weight
- 30% 2000 words
- Due date
31/10/2025 4:00 pm
- Learning outcomes
- L01, L02, L05
Task description
The assignment may be submitted in written form with captioned screenshots from the examples discussed, OR as an 8-10 minute video essay with voice-over narration /intertitles or captions and a 500-1000 word written introduction/contextualisation.
Please see the assessment tab on Blackboard for more information. Essays must follow the source requirements and other assessment rules, which will be provided on Blackboard.
Artificial Intelligence (AI) and Machine Translation (MT) are emerging tools that may support students in completing this assessment task. Students may appropriately use AI and/or MT in completing this assessment task. Students must clearly reference any use of AI or MT in each instance.
A failure to reference generative AI or MT use may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
Submit via TurnItIn. Video essays to be submitted via the separate named link on Blackboard.
This assignment will be submitted electronically via Blackboard and using EchoVideo. Before submitting any assignments for this course, you must ensure you have completed UQ's compulsory online Academic Integrity Tutorial.
Please visit this webpage for further advice on how to submit your EchoVideo.
When you successfully submit your assessment to EchoVideo, you will see text confirming your submission is complete. You will also receive an email confirmation message.
Students are responsible for retaining evidence of submission by the due date for all assessment items, in the required form (e.g. screenshot, email, photo, and an unaltered copy of submitted work).
If the submission was not successful:
- Note the error message (preferably take a screenshot).
- Go to your assignment page and see if it is possible to submit again.
- If you cannot submit again email your course coordinator immediately with the assignment attached.
TurnItIn Receipts:
Assignments for this course will be submitted electronically via Blackboard and using TurnItIn. Before submitting any assignments for this course you must ensure you have completed UQ's compulsory online Academic Integrity Tutorial.
When you successfully submit your assessment to TurnItIn you will see text confirming your submission is complete, before being redirected to your Assignment inbox. On this page you can:
- View the name of the submitted file
- View date and time of the upload
- Resubmit your paper (if necessary)
- Download your submitted paper
- Download digital receipt.
If you cannot see your submission in your Assignment inbox you should regard your submission as unsuccessful. Students are responsible for retaining evidence of submission by the due date for all assessment items, in the required form (e.g. screenshot, email, photo, and an unaltered copy of submitted work).
If the submission was not successful:
- Note the error message (preferably take a screenshot).
- Go to your assignment page and see if it is possible to submit again.
- If you cannot submit again email your course coordinator immediately with the assignment attached.
Please visit this webpage for further advice on how to submit your TurnItIn assignment.
Deferral or extension
You may be able to apply for an extension.
The maximum extension allowed is 28 days. Extensions are given in multiples of 24 hours.
Note that if this is your final semester, a lengthy extension may delay the release of your grade, which may impact your ability to graduate with your cohort.
Late submission
A penalty of 10% of the maximum possible mark will be deducted per 24 hours from time submission is due for up to 7 days. After 7 days, you will receive a mark of 0.
Course grading
Full criteria for each grade is available in the Assessment Procedure.
| Grade | Cut off Percent | Description |
|---|---|---|
| 1 (Low Fail) | 0 - 24 |
Absence of evidence of achievement of course learning outcomes. |
| 2 (Fail) | 25 - 44 |
Minimal evidence of achievement of course learning outcomes. |
| 3 (Marginal Fail) | 45 - 49 |
Demonstrated evidence of developing achievement of course learning outcomes |
| 4 (Pass) | 50 - 64 |
Demonstrated evidence of functional achievement of course learning outcomes. |
| 5 (Credit) | 65 - 74 |
Demonstrated evidence of proficient achievement of course learning outcomes. |
| 6 (Distinction) | 75 - 84 |
Demonstrated evidence of advanced achievement of course learning outcomes. |
| 7 (High Distinction) | 85 - 100 |
Demonstrated evidence of exceptional achievement of course learning outcomes. |
Additional course grading information
- Where fractional marks occur in the calculation of the final grade, a mark of x.5% or greater will be rounded up to (x+1)%. A percentage mark of less than x.5% will be rounded down to x%.
- Where no assessable work is received, a Grade of X will apply.
Supplementary assessment
Supplementary assessment is available for this course.
Additional assessment information
- Further information regarding the assessment, including marking criteria and/or marking rubrics are available in the ‘Assessment’ folder in Blackboard for this course.
- Marks Cannot Be Changed After Being Released: Marks are not open to negotiation with course staff. If you wish to discuss the feedback you have received, you should make an appointment to speak with the Course Coordinator.
- Assessment Re-mark: If you are considering an Assessment Re-mark, please follow the link to important information you should consider before submitting a request.
- Integrity Pledge: Assignments for this course will be submitted electronically via Blackboard and using Turnitin. Before submitting any assignments for this course, you must ensure you have completed UQ's compulsory online Academic Integrity Modules.ﾠIn uploading an assignment via Turnitin you are certifying that it is your original work, that it has not been copied in whole or part from another person or source except where this is properly acknowledged, and that it has not in whole or part been previously submitted for assessment in any other course at this or any other university.
- Withholding marks prior to finalisation of grades: Per UQ Assessment Procedures – Release of Assessment Item Marks and Grades: The final assessment item and the marks for the assessment item are to be released only after the final grade for the course has been released.
Learning resources
You'll need the following resources to successfully complete the course. We've indicated below if you need a personal copy of the reading materials or your own item.
Library resources
Find the required and recommended resources for this course on the UQ Library website.
Learning activities
The learning activities for this course are outlined below. Learn more about the learning outcomes that apply to this course.
Filter activity type by
Please select
| Learning period | Activity type | Topic |
|---|---|---|
Week 1 (28 Jul - 03 Aug) |
Seminar |
Week 1: Introductory Seminar Thinking about Film and TV History. *It is vital that you attend this first seminar, otherwise you will find it very difficult to catch up* In preparation for this first class, please watch Singin' in The Rain (Donen/Kelly, 1952) and do the reading for Week 1. Both of these will be in the Week 1 subfolder of the "Learning Materials" folder on Blackboard. Learning outcomes: L01, L02, L05, L06 |
Workshop |
Week 1 Workshop: Please ensure you make this first week as it is crucial for learning how to design the film TV archive research project (assignment 1) and how to develop your research skills. What kinds of research questions can be investigated through online archive research? How do archive databases work differently from search engines, and how do we start searching for useful, relevant, and interesting sources? What kinds of words work best? Learn how to become a database whisperer and unlock buried film/TV history treasures that will help you complete the assignment successfully. From week 2 you will be doing in-class writing exercises which you will submit in class for marking. See assessment Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 2 (04 Aug - 10 Aug) |
Seminar |
Week 2 Seminar: Early Cinema, early possibilities This week we look at early cinema forms (1894-1910s), their expressive possibilities, some of the early writing on cinema, and how the shift from short 'attractions' films to narrative cinema has been explained by historians. In preparation for this week's class, please watch the screening and do the readings on Blackboard in the learning materials folder for Week 2. participation and engagement is marked from this week, so make sure you sign the sheet. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 2 Workshop: This week as well as discussing the week's topic in more depth we continue developing our archive research skills. We start the in-class writing exercises this week. The first five are designed to help you complete the Media Archaeology Project, and each one is marked out of five. Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 3 (11 Aug - 17 Aug) |
Seminar |
Week 3: NO SEMINAR or WORKSHOP DUE TO EKKA PUBLIC HOLIDAY |
Week 4 (18 Aug - 24 Aug) |
Seminar |
Week 4 Seminar: The Emergence of Film Studios This week we examine the rise to dominance of the Hollywood studio system in the USA in the wake of WWI, and studios elsewhere. We look at studios as both infrastructure (building complexes that allow for the control of filming environments and the centralisation of labour) and as production companies. Our big questions are: what impact did the emergence of the Hollywood studios have on the way films looked? To what extent have the studios driven technological transformation in filmmaking? Can what are essentially filmmaking factories produce art? To prep, please watch Sunrise (Murnau, 1927) and/or Sherlock Jr (Keating, 1924) and do the reading on blackboard. Seminar participation/engagement marked this week - see assessment for details Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 4 Workshop: This week, we are discussing the week's topic as well as looking at how to find sources in magazines and newspapers from the 1910s and 1920s, and how to read and contextualise them, and how to cite them. In-class writing exercise worth 5 marks: see assessment for details. Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 5 (25 Aug - 31 Aug) |
Seminar |
Week 5 Seminar: The Transition to Sound This week we examine the late 1920s/early 1930s when the Hollywood studios embraced sound cinema. What kinds of filmmaking expression were lost? What were the expressive possibilities and problems of sound film making? How were the first sound films received? To prep for seminar: 1. Watch Blackmail (Hitchcock, 1929) and or M (Lang, 1931); 2. Do readings in the folder on Blackboard. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 5 Workshop: This week we deep dive into the industry press, newspapers, and film magazines from the late 1920s and early 1930s to see how people at the time felt about the movies' transition to synchronised sound. "Movies that talk? How vulgar!" More practice in finding and citing primary sources. The more you do this, the easier you will find the first major assignment. in-class writing exercise worth 5 marks: see assessment for details Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 6 (01 Sep - 07 Sep) |
Seminar |
Week 6 Seminar: The Coming of Television This week we look at how television was introduced to the home, and how different countries grappled with the problems and opportunities of the new medium. To prep for seminar: 1. Watch screening 2. Do readings in folder on Blackboard. Seminar participation/engagement marked this week - see assessment for details Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 6 Workshop: This is the last of our archive research workshops. This week we dive into early discussions in the media (the 1930s-1950s, depending on the country) speculating about television. what kind of weird or prescient notions about television will we find? To prep watch the viewing and do the reading via blackboard. In-class writing exercise worth 5 marks: see assessment for details. Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 7 (08 Sep - 14 Sep) |
Seminar |
Week 7 Seminar: TV's 'First Golden Age' in the 1950s This week looks at the aesthetics of early TV, its focus on liveness and the expressive possibilities of liveness, its move to pre-taped content, early discussions of what kind of artform TV might be, and its first "golden age". To prep: 1. Watch: Marty (NBC, 1953) in the screening slot. Recommended: The Quatermass Experiment (BBC, 1953) 2. Do readings in the folder on Blackboard. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 7 Workshop: In-class writing exercise worth 5 marks: see assessment for details. Learning outcomes: L01, L02, L03, L04, L05, L06 |
|
Week 8 (15 Sep - 21 Sep) |
Seminar |
Week 8: Film fights back - colour, widescreen, 3-D In this seminar we examine how and why in the 1950s cinema embraced a range of technologies to enhance its capacity for spectacle and viewer immersion. Which of these were temporary, and which became a permanent part of film-making, and why? To prep: 1. Watch Bigger than Life (Ray, 1956) 2. Do the readings on Blackboard. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 8 Workshop: This week we change activities from archive research to screen analysis. How can we see the impact of technological change on the screen, and what impact can technology have on how film and TV express meaning, story, character, and theme? We will learn how to watch more closely, and how to write succinctly about what we watch and what it means. In-class writing exercise marked out of 5. Learning outcomes: L01, L02, L03, L05, L06 |
|
Week 9 (22 Sep - 28 Sep) |
Seminar |
Week 9: 1970s innovations in sound design, VFX, and cinematography The 1970s are significant for giving us Dolby sound, steadicam, and motion-controlled camera. How were these technologies used expressively and to serve new styles of realism? What difference did they make to the way movies looked and sounded? To prep: 1. View: The Shining (Kubrick, 1980) 2. Do the readings in the folder on Blackboard. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 9 Workshop: This week we look in some detail at how 1970s innovations in cameras, film speed, and sound recording and mixing had an impact on how films looked and sounded. In-class writing exercise marked out of 5. Learning outcomes: L01, L02, L03, L05, L06 |
|
Mid Sem break (29 Sep - 05 Oct) |
No student involvement (Breaks, information) |
Mid-Semester Break |
Week 10 (06 Oct - 12 Oct) |
Seminar |
Week 10 Seminar: VCR/DVD and the disruption of home viewing This week we examine a key precursor to online streaming and Netflix. In the 1980s-early 1990s, long before online streaming services, the video cassette recorder disrupted the film and TV industries, transformed the relationship between viewers and content, and in turn shaped new kinds of TV programming and film-making. To prep: 1. Watch Twin Peaks, Season 1, Episode 1 (Lynch/Frost, 1990-1991) 2. Do readings on Blackboard. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 10 Workshop: In-class writing exercise marked out of 5. Learning outcomes: L01, L02, L03, L05, L06 |
|
Week 11 (13 Oct - 19 Oct) |
Seminar |
Week 11 Seminar: The digital revolution - Part 1 As with the coming of sound, the rise of digital effects, computer 3D animation, and computer generated imagery (CGI) in film-making and television has been the subject of anxiety and excitement. How has it been written about? what do we lose, and what do we gain? What are the expressive possibilities of CGI? To prep: 1. Do the readings on Blackboard. 2. Watch the screening, Tron (Lisberger, 1982) or Terminator 2: Judgement Day (Cameron, 1992) Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 11 Workshop: This week we consider CGI remakes in comparison to their originals (made with pre-digital effects techniques) in order to analyse the difference (if any) that CGI makes to our impression of screen bodies, spaces, and actions. In-class writing exercise marked out of 5. Learning outcomes: L01, L02, L03, L05, L06 |
|
Week 12 (20 Oct - 26 Oct) |
Seminar |
Week 12 Seminar: The digital revolution - Part 2 This final week we look at the wholesale digitisation of film and TV production in the 2000s, from being able to shoot a movie on your phone, to digital editing, the digital intermediate, and digital exhibition. What differences do these tools made to how films look and sound? What difference do they make to arguments about film as an artform? To prep: 1. Watch Side by Side in the screening slot or online. 2. Do the readings in the folder. Seminar participation/engagement marked this week - see assessment for details. Learning outcomes: L01, L02, L03, L05, L06 |
Workshop |
Week 12 Workshop In this final workshop we look in more detail at the impact of such things as digital cinematography, editing, and the digital intermediate on screen. In-class writing exercise marked out of 5. Learning outcomes: L01, L02, L03, L05, L06 |
|
Week 13 (27 Oct - 02 Nov) |
Seminar |
Week 13: NO SEMINAR |
Workshop |
Week 13: NO WORKSHOPS |
Policies and procedures
University policies and procedures apply to all aspects of student life. As a UQ student, you must comply with University-wide and program-specific requirements, including the:
- Student Code of Conduct Policy
- Student Integrity and Misconduct Policy and Procedure
- Assessment Procedure
- Examinations Procedure
- Reasonable Adjustments for Students Policy and Procedure
Learn more about UQ policies on my.UQ and the Policy and Procedure Library.
Course guidelines
Communication Expectations
While you are a student at UQ, all communication must be conducted according to the UQ Student Code of Conduct. The UQ Library has a helpful Communicate and collaborate online module.
- Email is the primary way for you to send messages to, and receive information from, the School and our staff.
- You must use your UQ email address (not a private address) to communicate with staff.
- You should add a clear subject line, including course code, and a 2-3 word statement.
- You can send email at any time, however, please do not expect responses outside normal working hours (Monday to Friday from ~8am to ~5pm).
- Emails that constitute bullying, harassment or discrimination against staff contravene the Student Code of Conduct. Emails like this will be reported to the University, and the matter will be pursued as misconduct.