This introductory module will provides you with a foundation to the degree by foregrounding your individual perspective in a consideration of issues of representation in the contemporary media landscape. You will explore the importance and increased significance of individual voices and cultures within the screen industries. In this module, you will consider issues of diversity and representation from the perspective of both production, and consumption, prioritising the voice of the audience. You will consider contemporary debates on the changing role of the audience, and the growing role the audience plays in shaping programming and content. Through concepts such as the attention economy, you will be introduced to the notion of the audience as both a user and as a producer of media in the digital age, and over the course of this module, you will gain a deeper understanding of the ways in which digital media both shape and influence audiences, and conversely, how audiences shape and influence digital media. Students will learn to critically evaluate theories and empirical research about audiences, identities and cultures in the digital age. They will develop an understanding of the main trends in digital audience economics and will develop skills in critically analysing theories and empirical studies of digital media audiences, demonstrating their ability to assess complex ideas and present that data in a scholarly manner

1. Cultural portfolio [LOs 1,2,3,4]
the form of the cultural portfolio is negotiated with the staff team and will function as a repository of information on which the report will draw. This repository will be made up of a combination of scholarly work, trade materials, business reports and material that is more journalistic in nature, presented as an annotated bibliography detailing your thought process and intentions for assignment two. This should feature a minimum of 10 sources at a maximum length of 2000 words.
2. Industrial/Cultural Report [LOs 1, 2, 3, 4]
The final assessment is an individual industry report assessing learning outcomes 1 – 4. The report should consist of a study and analysis of some aspect of the contemporary screen industry specifically related to audience perspectives, identity or culture. This will make connections between the material gathered in the cultural portfolio. This will be a maximum length of 2000 words and is individually assessed.

The Audiences, Identities and Cultures module is the introductory module to the Screen Industries and Cultures MA in which you are introduced to key concepts in the study of digital media through the foregrounding of issues of diversity and representation. In this module you will gain skills in understanding the methods used to examine digital media audiences, prioritising individual identities and cultures this will provide you with an accessible entryway into the study of the screen industries. In the production of a cultural portfolio, you will assemble a repository of data that will form the basis of their analysis, in the second assignment, an industrial/cultural report. This module is based on a mix of lectures, seminars and screenings with the lectures lasting one hour, the seminars lasting two hours and the screening lasting two hours. The lectures and screenings will be pre-recorded for students to access in their own time, while seminars will take place live and will emphasise a variety of ‘in-class’ activities, such as group activities, case studies, group discussions and hands-on analysis. This flipped classroom approach allows students to engage with the assigned reading, the lecture and screening and come to the class prepared to engage in sessions that will further their understanding of the material that they have already covered.

1. Employ systematic understanding of knowledge of the screen industries.
Enquiry

2. Identify, interpret and apply appropriate sources in the production of an essay/report
that applies this knowledge in an exploration of the cultural components of the media
industries.
Application

3. Synthesise current research and advanced scholarship to comment on contemporary
problems and offer insights into the media industries, informed by scholarly rigour.
Analysis

4. Communicate your conclusions clearly to specialist and non-specialist audiences.
Communication

Alongside internally embedded resources such as the Virtual Learning Environment, Blackboard and Box of Broadcasts for screenings, the industrial focus of the programme means that you will be expected to engage with a variety of industrial and governmental bodies. Such as, but not limited to:
Arts & Humanities Research Council The Arts and Humanities Research Council (AHRC) is a national funding agency supporting arts and humanities research and study in the UK. Website contains up-to-date developments, debates and discussions.
Arts Council England Arts Council England is a non-departmental public body of the Department of Culture, Media and Sport. It was formed in 1994 when the Arts Council of Great Britain was divided into three separate bodies for England, Scotland and Wales
Arts Council – Creative Case NORTH Supported by investment from the Arts Council, Creative Case NORTH has been finding ways to embed the creative case across the arts and cultural sector throughout the north of England. The north area approach is important because it spans a wide geography and supports a huge range of organisations and types of diversity, embracing all the protected characteristics.
BFI Film Forever The BFI exists to promote greater understanding and appreciation of, and access to, film and moving image culture in the UK
BFI InView Here you will find over 2,000 non-fiction film and television titles from the 20th century to the early 21st. InView is easily searchable, comprehensively catalogued and clearly organised under six main Themes, each with an introductory essay by an academic historian
BFI Screenonline The British Film Institute's Screenonline is an online encyclopaedia of British film and television featuring hundreds of hours of film and television clips from the vast collections of the BFI National Archive, and several hours of recorded interviews with film and TV personalities. These clips are supplemented by rich and authoritative contextual material by expert writers, specially commissioned for BFI Screenonline alongside thousands of stills, posters and press books
British Council documentary resources The Foundation exists to nurture independent documentary filmmakers from the UK and around the world
British Council Film Collection The British Council Film Collection is an archive of 120 short documentary films made by the British Council during the 1940s designed to show the world how Britain lived, worked and played. Over 120 films were produced as 'cultural propaganda' to counteract anything the Nazis might throw out and to refute the idea that ours was a country stuck in the past. These films were designed to showcase Britain to the rest of the world, at a time when Britain itself was under attack.
The British Film Commission (BFC) The British Film Commission (BFC) is the national body in charge of attracting, encouraging and supporting the production of international feature films in the UK. With offices in the UK and the US, the BFC provides free professional advice to help make productions in the UK a reality British Universities Film & Video Council this site covers educational use of film and video in all academic subject areas, and is a good source of information on research collections and educational broadcast productions. Includes the catalogue of the British Universities Newsreels Project
ScreenSkills as part of their remit as sector skills council, ScreenSkills is the definitive source for reseach into employment, conditions and skill levels in the IK film industry. Additionally, alongside the websites listed above, there are a number of important websites that contain more focussed articles on the film industry. www.deadline.com up-to-the-minute entertainment, Hollywood and media news www.variety.com : The most prestigious Hollywood trade publication. www.hollywoodreporter.com : Another very prestigious Hollywood trade publication. www.screendaily.com : Another important trade publication, its focus is mostly on the European film and media industries. www.boxofficeguru.com : A very valuable research tool. It uses box office data from Variety as well as from other major databases. It has hundreds of extremely useful links

www.imdb.com : Extremely valuable tool in obtaining information about films (production companies, distributors, box office figures, reviews, filmographies, film trailers etc). It can also be used as a search engine to identify a corpus of films you might want to discuss www.the-numbers.com : Another very good site to obtain box office information and other important industry data

Specific Texts Booth, Paul (2018) A Companion to Media Fandom and Fan Studies Buckingham, David (2007) Youth, identity, and digital media Davenport, Thomas H, Beck, John C (2001) The Attention Economy: Understanding the New Currency of Business Dyer, White (1997) White: Essays on Race and Culture Gauntlett, David (2008) Media, gender and identity: An introduction Hills, Matt (2002) Fan Cultures Jenkins, Henry (1992) Textual Poachers: Television Fans & Participatory Culture McDonald, Kevin, McDonald, Jonathan (2019) Gamergate: First Battle of the Culture War Nelson-Field, Karen (2020) The Attention Economy and How Media Works: Simple Truths for Marketers. Rukmini Pande (2018) Squee from the Margins: Fandom and Race Introductory Film Texts Bordwell, David and Kristin Thompson (various) Film Art: An Introduction Buckland, Warren (2003) Teach Yourself Film Studies Cook, Pam (1999/2007) The Cinema Book Church-Gibson and John Hill (2002), The Oxford Guide to Film Studies Corrigan, Timothy and Patricia White (2004) The Film Experience Chapman, J., Glancy, M., and Harper, S. (2009) The New Film History: Sources, Methods, Approaches Davis, Glyn, Kay Dickinson, Amy Villarejo, and Lisa Patti (2015) Film Studies: A Global Introduction Etherington-Wright, C. and Doughty, R. (2011) Understanding Film Theory. Gibbs John (2001) Mise-en-Scene: Film Style and Interpretation Hayward, Susan (2012) Cinema Studies: Key Concepts Villarejo, Amy (2013) Film Studies: The Basics Film Studies Journals Alongside these introductory texts, there are a number of film studies journals that often contain more focused research on particular film, themes, and issues relevant to the study of Cinema: Camera Obscura Cineaction Cineaste Cinema Journal Deadline Film Quarterly

Historical Journal of Film, Radio, and Television Journal of Film and Video Journal of Popular Film and Television Jump Cut (archive and current issues available online) New Review of Film and Television Studies Screen Velvet Light Trap

In this module, you will explore the importance of individual voices and cultures within the screen industries, considering issues of diversity and representation from the perspective of both production and consumption. This will foreground the notion of the audience as both a user and as a producer of media in the digital age, and over the course of this module, you will gain a deeper understanding of the transactional relationship of the contemporary screen industries.