Course coordinator
Dr Lisa Bode
Course overview
- Study period
- Semester 1, 2025 (24/02/2025 - 21/06/2025)
- Study level
- Undergraduate
- Location
- St Lucia
- Attendance mode
- In Person
- Units
- 2
- Administrative campus
- St Lucia
- Coordinating unit
- Communication & Arts School
This course examines a range of theoretical approaches to the issues of realism, fiction, and factuality across various kinds of film, TV, and screen media. In an era of increasing anxiety about fakery, the blurring lines between fact and fiction, and the nature of viewer belief, this course will give students a deeper understanding of past and current ways of thinking about the screen's relationship to realities.
This course is the third year compulsory course for students taking the Film and Television Studies major. It examines older and newer theoretical approaches to the question of how films and television programs achieve and evoke experiences of reality for viewers; the relationship between the real world and the screen; and the strategies film and TV creatorsﾠhave used to tell stories about real people and events. As such, it considers fictional and factual forms, computer generated imagery, animation, documentaries, docudramas and biopics, and draws upon classical film theory, feminist film theory, animation theory, documentary theory, phenomenological theory and reception studies.
Course requirements
Assumed background
This is a third year compulsory course in the Film and Television major. As such, Film and Television Major students wishing to enrol are required to have successfully completed the level 1 compulsory course, MSTU1001: Introduction to Film and Television Studies, the level 2 compulsory course, MSTU2160: Film and Television History and four units of level 2 courses from the Film and TV major list.
Film and TV Minor students need to have successfully completed MSTU1001, MSTU2160, and 2 units of level 2 courses from the Film and TV major list.
English Major students wishing to enrol are required to have completed MSTU1001, 2 units of courses from Section 2 of the Level 2 English course list, and ENGL3030.
Students wishing to take the course without these pre-requisites must obtain the instructor's written permission, which will be granted only in exceptional, extenuating circumstances.
Prerequisites
You'll need to complete the following courses before enrolling in this one:
Film and TV Major/Minor: MSTU1001, MSTU2160 and 2 units of Level 2 courses from the Film and TV Course List
English: MSTU1001, WRIT2250 and 2 units of Level 2 courses from the English Major Course List and ENLG3030
Incompatible
You can't enrol in this course if you've already completed the following:
MSTU2007
Course contact
Course staff
Lecturer
Dr Lisa Bode
Timetable
The timetable for this course is available on the UQ Public Timetable.
Additional timetable information
This course has online viewing and readings which you should do before the seminarﾠeach week so that you can participate in discussions.ﾠ
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
1. To ensure that students complete their Film and Television major with a thorough understanding of some of the major recent theoretical and critical approaches in the field.
2. To facilitate students' integration of skills and knowledge gained in prior Film and Television Studies courses, as well as to distill and ﾠilluminate key skills,ﾠ concepts and methods emphaisized in the major
3. To help students make connections between concepts and debates in the scholarly study of film/television and those in popular discourse; more broadly, to encourage students to think about how the skills and knowledge developed in humanities disciplines like Film and Television Studies are of value beyond academia.
4. To assist students to further develop the ability to read carefully, think critically, and write and speak clearly.
Learning outcomes
After successfully completing this course you should be able to:
LO1.
Know and understand some of the key theoretical arguments in Film and TV Studies about relationships between different kinds of film/television and the material, social, historical, and experiential aspects of the world, and be experienced in discussing, testing, and applying these arguments to films and TV.
LO2.
Have an awareness and understanding of some of the different cultural and historical contexts of realism, fiction, and truth in film and animation practice, an appreciation of their different functions, and an ability to discuss them clearly and with sensitivity.
LO3.
Understand some of the key ways in which new technologies are altering the terms and practices of film and TV realism, and demonstrate skill in identifying and distinguishing among different kinds of film/TV, their intentions, and potential impact.
LO4.
Have an awareness of ethical concerns and debates about the responsibilities of film and TV producers to their audiences, their subjects, and those who images they use, and be experienced in close-viewing to identify where these concerns do and don’t apply.
LO5.
In speech, writing, or video essay, clearly and cogently develop well-founded analyses of films and/or television programs, and use these to build broader arguments.
LO6.
Demonstrate skill in distilling and applying complex ideas about film and TV, and communicating them in a compelling, meaningful way to a targeted reader or audience.
Assessment
Assessment summary
| Category | Assessment task | Weight | Due date |
|---|---|---|---|
| Participation/ Student contribution |
Class participation/worksheets: 10 weeks x 2 marks
|
20% |
25/02/2025 - 30/05/2025
Participation/engagement is marked in weeks 1-6 and 8-11. |
| Paper/ Report/ Annotation, Essay/ Critique | Recent Film/TV case study | 30% 1000 words |
18/04/2025 4:00 pm
Submit via Turnitin |
| Creative Production/ Exhibition, Paper/ Report/ Annotation, Project | Educational Screening Program or Video essay Part A | 10% 300-500 words |
9/05/2025 4:00 pm
Submit via TurnItIn. |
| Creative Production/ Exhibition, Paper/ Report/ Annotation, Essay/ Critique, Project | Educational Screening Program or Video essay Part B | 40% |
30/05/2025 4:00 pm
Submit via Turnitin. For video essay submission, see Assessment section of course Blackboard page for submission instructions. |
Assessment details
Class participation/worksheets: 10 weeks x 2 marks
- Identity Verified
- Mode
- Activity/ Performance
- Category
- Participation/ Student contribution
- Weight
- 20%
- Due date
25/02/2025 - 30/05/2025
Participation/engagement is marked in weeks 1-6 and 8-11.
- Learning outcomes
- L01, L02, L03, L04, L05, L06
Task description
In this course there are flexible weekly participation/engagement options which allow you to earn up to 20 marks. Participation/engagement is marked in weeks 1-6 and 8-11. Weeks 7 and 12 are assignment workshopping and revision weeks. They are optional but highly recommended weeks for helping you prepare your first and final assignments.
You can earn up to 2 marks each week, and there are a couple of different ways to earn these marks:
1. In-class speaking or google doc written responses. Each week I will email the link to a google doc before class. The doc will contain a question related to the viewing. Other questions will be asked in class during the seminar. You can write responses to these questions and post your own questions before/during class using the google doc, or verbally answer questions and contribute to class discussion with useful points that are informed by your listening, reading, and viewing of that week's course materials. To get 2 marks for the week you need to either participate twice in the verbal discussion or write two responses to questions in the google doc. Please sign the in-class attendance sheet so that your participation/engagement can be marked.
The google doc allows you to answer questions in class at your own pace, but there is also a field in the document where you can write your own questions about the readings or suggest parts of the readings or topic that you would like to discuss in more detail. In class we will sometimes use your answers and questions in different ways as a jumping off point for discussion.
2. After class worksheet. If you miss a class due to illness, you may do a catch-up worksheet for that week. If you learn better through reflection and revision of your own class notes, you can also submit the catch-up worksheet instead of participating in class. Worksheets will be made available in the Blackboard assessment folder soon after the seminar, and always before the end of the week. Submit your worksheet using the link provided in the assessment folder.
Machine Translation (MT) may support students in completing this assessment task. Students may appropriately use MT in completing this assessment task. Students must clearly reference any use of MT in each instance.
Use of generative Artificial Intelligence (AI) in this task is prohibited.
A failure to reference MT use and / or the use of generative AI may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
If you do option 1 (in-class participation/google doc), you must have attended class and signed the attendance sheet. You have until Friday 4pm of that week to finalise your responses in the google doc.
If you do option 2 (worksheet), please submit it via blackboard using the same link you downloaded the worksheet from. You may submit the worksheets at any time, with a final deadline for all worksheets of 4pm Friday, week 13.
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.
Please note: Extensions can only be granted for the worksheets (if you are unable to submit them by the final due date of Friday week 13, 4pm). All extensions for the worksheets require supporting documentation, and need to be applied for using the link on Blackboard. No extensions are available for the in-class assessment (verbal or google doc responses) and the google doc will be closed to further responses by 4pm Friday of each week of class. If students who attended the class are not able to provide/finalise their responses in the google doc by this due date then they may complete the worksheet for that week instead.
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.
Please note: Late submission is not possible for the in-class verbal/google doc participation option. The google doc will close for responses by 4pm Friday of the week of class and students who miss this deadline will need to complete the worksheet for that week instead. Late submission penalties will only be applied to late submission of the worksheets at the end of semester.
Recent Film/TV case study
- Mode
- Written
- Category
- Paper/ Report/ Annotation, Essay/ Critique
- Weight
- 30% 1000 words
- Due date
18/04/2025 4:00 pm
Submit via Turnitin
- Learning outcomes
- L01, L02, L03, L04, L05, L06
Task description
Instructions for this assignment will be available in the Assessment section of the Blackboard site for the course, and discussed during the seminar.
Machine Translation (MT) may support students in completing this assessment task. Students may appropriately use MT in completing this assessment task. Students must clearly reference any use of MT in each instance.
Use of generative Artificial Intelligence (AI) in this task is prohibited.
A failure to reference MT use and / or the use of generative AI may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
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.
Educational Screening Program or Video essay Part A
- Mode
- Product/ Artefact/ Multimedia, Written
- Category
- Creative Production/ Exhibition, Paper/ Report/ Annotation, Project
- Weight
- 10% 300-500 words
- Due date
9/05/2025 4:00 pm
Submit via TurnItIn.
- Learning outcomes
- L01, L02, L03, L04, L05, L06
Task description
Instructions for this assignment will be available in the Assessment section of Blackboard, and discussed during the seminar.
Machine Translation (MT) may support students in completing this assessment task. Students may appropriately use MT in completing this assessment task. Students must clearly reference any use of MT in each instance.
Use of generative Artificial Intelligence (AI) in this task is prohibited.
A failure to reference MT use and / or the use of generative AI may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
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 14 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.
Educational Screening Program or Video essay Part B
- Mode
- Product/ Artefact/ Multimedia, Written
- Category
- Creative Production/ Exhibition, Paper/ Report/ Annotation, Essay/ Critique, Project
- Weight
- 40%
- Due date
30/05/2025 4:00 pm
Submit via Turnitin. For video essay submission, see Assessment section of course Blackboard page for submission instructions.
- Learning outcomes
- L01, L02, L03, L04, L05, L06
Task description
Instructions for this assignment will be in the assessment section of Blackboard and discussed during the seminar.
Machine Translation (MT) may support students in completing this assessment task. Students may appropriately use MT in completing this assessment task. Students must clearly reference any use of MT in each instance.
Use of generative Artificial Intelligence (AI) in this task is prohibited.
A failure to reference MT use and / or the use of generative AI may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
Submit via Turnitin. For video essay submission, see Assessment section of course Blackboard page for submission instructions.
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.
Please note: a lengthy extension may lead to a delay in uploading your final grade. If this is your final semester, this may delay your graduation.
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 (24 Feb - 02 Mar) |
Seminar |
Week 1 Introduction: What do we mean by 'Realism', 'Fiction', and 'Factuality'? Why do these concepts matter? What do we mean when we use words like 'realism' or 'authenticity'' (or 'unrealistic', or 'inauthentic') to talk about films and TV shows? In what ways do these things seem to matter to how we value or devalue films and TV? How do we distinguish between fiction and non-fiction and what happens when these categories are mixed up? This is the first seminar. We will discuss the aims and objectives of the course, introduce the main concepts, and explain the assessment. NOTE: Seminar is 3 hours long with a 10 minute break in the middle. To prepare for class please watch: The Rehearsal S1 E1: Orange Juice, No Pulp. Available through library course resources list. Please see Blackboard for readings. Participation/engagement is marked for this week. Learning outcomes: L01, L02, L03, L04, L05 |
Week 2 (03 Mar - 09 Mar) |
Seminar |
Week 2 Realism(s): Matters of screen style Topic: Realisms and Matters of Style How has 'realism' in filmmaking been defined in different places and times? When has realism just been about preserving an illusion? What have been seen as some of the 'stakes' of realism on screen? To prepare, please watch: The Farewell (Lulu Wang, 2019). Please see Blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 3 |
No student involvement (Breaks, information) |
Week 3: Classes Cancelled Classes cancelled due to Cyclone Alfred. |
Week 4 (17 Mar - 23 Mar) |
Seminar |
Week 4: Realist Film Theories and the Camera Camera and world: realist film theory; the ontology of the photographic image; technology's biases; reality, storytelling, and art Why have the film camera and the photographic image been so central to realist film theories? How and why did these theories emerge? When is the camera's recording of reality most meaningful in our viewing of film and TV? What if anything is still useful about these theories for us in the age of computer generated images (CGI) and AI generated imagery? To prepare, please watch: Nomadland (Chloe Zhao, 2020); and/or Umberto D. (Vittorio de Sica, 1952); and/or Ten Canoes (Rolf de Heer/Peter Djigirr, 2006). Please see Blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 5 (24 Mar - 30 Mar) |
Seminar |
Week 5: The sensory and emotional realities of the viewing experience Have you ever thrown up watching a film? Have you found your body making involuntary movements or felt the hairs prick up on your arms? We often use words like 'visceral', 'sensuous', 'electrifying', 'overwhelming' when talking about films - for they are indeed not just stories told with moving images and sound on a 2D screen, but sensory and emotional experiences. How have phenomenologists and cognitive theorists of films tried to explain what happens in our bodies and minds when we watch? How have particular filmmakers had an interest in making films that we watch not just with our eyes and ears but our whole bodies? To prepare, please watch: The Impossible (J.A. Bayona, 2012) (content warning: depiction of tsunami, depictions of drowning, wounds, and natural disaster). Please see Blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 6 (31 Mar - 06 Apr) |
Seminar |
Week 6 Social realities and the screen: Ways of seeing gendered bodies and power This course examines film and TV through different lenses. Lenses bring their own distortions, but also can allow us to see some things more clearly about how the screen relates to the reality of our world. This week's lens is feminist film theory (and practice) - which has been hugely influential on cultural discourse about gender as well as the work of filmmakers. Terms like 'the final girl' and 'the monstrous feminine' in horror movies come from feminist film scholarship, and so does (the often misused term) 'the male gaze' in relation to sexualised images of women in film, TV, and wider culture. How and why did feminist film scholarship emerge, what have been some of the key debates about gendered bodies, film style, and cinematic point of view. To prepare, please watch: Gentlemen Prefer Blondes (Howard Hawks, 1953); Barbie (Greta Gerwig, 2023); and/or Revenge (Coralie Fargeat, 2017) (content warning: Revenge has scene of implied SA, and high-impact cartoonish violence and gore). Please see Blackboard for readings. Participation/engagement is marked this week Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 7 (07 Apr - 13 Apr) |
Seminar |
Week 7 Animation: From Realism to Abstraction Animation comprises a wide variety of styles, methods, and approaches. It is always a reality that is constructed and created through filming or in a computer, rather than a reality captured by a camera. There is always a stylistic choice in how animation's bodies, spaces, and movements look. How has animation been theorised in relation to reality, and how has realism been defined in animation? How has it been discussed in relation to different modes, and in what ways are animation's various departures from realism seen to be central to its meanings? To prepare for class, please watch: Grave of the Fireflies ( (Isao Takahata, 1988) (content warning: aftermath of war, child death); Inside Out (Pete Docter, 2015). Please check Blackboard for readings. Participation/engagement marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 8 (14 Apr - 20 Apr) |
Workshop |
Week 8 Case study assignment workshop Revision of the topics so far, and workshop for case study assignment Bring your ideas for your assignments, your questions, your anxieties, your drafts. Participation/engagement is encouraged but not marked. You will have a better chance of doing well on the case study assignment if you come to class this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Mid-sem break (21 Apr - 27 Apr) |
No student involvement (Breaks, information) |
MID-SEMESTER BREAK: No classes |
Week 9 (28 Apr - 04 May) |
Seminar |
Week 9 Camera and World: Documenting reality, claiming the truth. This is the first week of the second half of the course - we turn from realism/reality on screen to questions of truth and factuality on screen. Today we consider documentaries: what is a documentary? How and why has the definition of documentary changed over time? How do we differentiate between a documentary and other forms of media that claim to tell truths about the world? How do documentaries persuade us, what do documentaries do with evidence and rhetoric, and what approaches can they take to knowledge? To prepare, please watch: Cave of Forgotten Dreams (Werner Herzog, 2010); My Octopus Teacher (Pippa Erhlich and James Reed, 2020) (content warning: sadness). Please check blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 10 (05 May - 11 May) |
Seminar |
Week 10: Animating Realities and expressing truths in animated documentary Animating Realities and expressing truths in animated documentary. If animation creates its own realities (worlds that exist only as animation), how can it also be used to help us understand our own realities or those of others? To prepare, please watch: Tower (Keith Maitland, 2016) (content warning: this is about America's first college campus shooting). Please check Blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 11 (12 May - 18 May) |
Seminar |
Week 11: Deepfakes and the uses and misuses of real people's images and lives Deepfakes have generated a lot of anxiety and discussion about the ethics of using other people's images - about appropriation, recontextualisation, power, play, ethics, and harms. How do we decide what is a legitimate, creative use of someone's likeness, and what is an unethical or harmful use? How might this connect to other ways in which film and TV creators use the images and stories of others, such as in true crime or biopics? To prepare, please watch: The Congress (Ari Folman, 2013); Sassy Justice (Trey Parker/Matt Stone, 2020). Please see Blackboard for readings. Participation/engagement is marked this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 12 (19 May - 25 May) |
Seminar |
Week 12: Ambiguous truths, deceptions, satire, and AI Generated video In this final topic we examine screen works that have ambiguous or playful relationships to truth, history, and memory, and consider how AI tools (for colorisation of black and white film, dubbing, for instance) and AI Generated vintage video may be fundamentally transforming our relationship to the audio-visual archive and our perceptions of the past. Do we still care about what is real/fake, true/fabrication, and, if so, why, and how do we keep the distinction alive? To prepare, please watch: My Winnipeg (Guy Maddin, 2007) or 24 Hour Party People (Michael Winterbottom, 2002). Please check Blackboard for readings. Participation/engagement will be graded this week (last one). Learning outcomes: L01, L02, L03, L04, L05, L06 |
Week 13 (26 May - 01 Jun) |
Workshop |
Week 13: Final assignment workshop Revision of topics weeks 9-12, workshop for final assignment. Bring your questions, your anxieties, your drafts. Participation/engagement is encouraged but not marked. You will have a better chance of doing well on the final assignment if you come to class this week. Learning outcomes: L01, L02, L03, L04, L05, L06 |
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 - 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.