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MA Politics, Media, Performance (Taught Masters Degree)

Course Handbook 2017/18

Coriolan/us, Dir. Mike Pearson and Mike Brookes, National Theatre Wales, RAF St Athan, August 2012. Photo: Simon Banham ©

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Department of Theatre, Film and Television Studies MA Politics, Media, Performance Handbook Overview

Welcome 1. Description 3 2. Outline of academic structure 4 3. Module Information 5 4. Dates session 2017/2018 10 5. Assessment dates session 2017/18 11

6. Staff contact details 12 7. Other useful contacts 13

8. Departmental Style Guide (referencing) 14

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MA Politics, Media, Performance Welcome Welcome to the MA Politics, Media, Performance (MA PMP) in the Department of Theatre, Film and Television Studies and the Department of International Politics! By choosing to come to Aberystwyth University, you have joined an exciting team of students, researchers and scholars. We take research and post-graduate study enormously seriously here and hope you will become a vibrant member of our team. We intend your MA studies to be one stage of your academic (and creative) development. By achieving your first degrees you have already demonstrated your own excellence as students. We hope to build on that excellence with the ultimate goal of helping you develop into a performance practitioner, researcher and scholar. This will partly be achieved by working with us extensively in class, but we also do encourage all post-graduate students to become involved in other areas of the Institute’s research communities. For example, we arrange a number of research seminars (combining internal and external speakers) throughout the year that you are all encouraged to attend, especially the Distinguished Speaker Lecture and Seminar series run by Performance and Politics international (PPi), the University’s dedicated research centre dealing with politics, media and performance (performanceandpolitics.aber.ac.uk). We shall also keep you informed of any performance events or conferences that may be of interest to you. Postgraduate students are encouraged to attend these events and fully participate in the artistic and intellectual life of the departments as a whole. And so we hope that your studies here are both fruitful and enjoyable. The following pages contain important and useful information to help and guide you so that you will successfully complete your MA. This handbook is intended as a reference book and guide for all students and staff associated with the Masters programme in Politics, Media and Performance. We have tried to keep it to the point, which means that for some purposes you will need to consult other documents:

• The Departmental Taught Postgraduate Handbook

• The University’s “Code of Practice for Taught Postgraduates” available on-line http://www.aber.ac.uk/en/grad-school/docs-handbooks/

• The University’s Postgraduate Information – The Graduate School available on-line www.aber.ac.uk/en/grad-school/

If you have any questions or comments to make about this handbook please e-mail the postgraduate administrator, Ceris Medhurst-Jones (ekj@aber.ac.uk). We have tried to cover everything that we think may be of importance for your time here at Aberystwyth. Please let us know if there is information we should add or if anything is misleading or wrong. Wishing you every success with your studies! Professor Adrian Kear, FRSA Co-Director, Performance and Politics international research centre (PPi) MA Politics, Media, Performance Co-ordinator

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MA Politics, Media, Performance 1. Description This Masters degree scheme builds on longstanding research collaboration between the Department of International Politics and the Department of Theatre, Film and Television Studies and develops the synergies that have emerged in the course of that work. It offers graduates in the humanities (Performance Studies, Fine Art, Film, Cultural Studies, Philosophy, Literature or Media) and in the social sciences (Politics, International Politics, Sociology, Anthropology) the opportunity to work together at the intersection of performance, media and politics to develop an advanced understanding of cutting-edge contemporary thinking in critical international and postcolonial politics, performance, film studies and media. This programme is jointly taught by International Politics and Theatre, Film and Television Studies staff and administered by the Department of Theatre, Film and Television Studies within the Institute of Arts and Humanities. There can be little doubt that film, creative media and performance do not just reflect but produce particular political realities and can be used for political ends. The events of the Arab Spring demonstrated the role that digital media play in the form and conduct of political activism, and the events of 9/11 in 2011 showed how spectacle impacts on politics and may be manipulated for various ends. All this highlights the need for informed, critical and creative scholarship that is not constrained by any disciplinary divide between performance, media and politics, and that goes beyond a framework that equates theatre with politics or sees politics as a performance. Scholars of politics have recognised the importance of examining, and indeed employing, cultural and media forms in their work. Equally, scholars of film, media and performance are examining the relevance of critical conceptualisations of the political in their practice. This taught Masters combines the research strengths and longstanding collaboration of two world-leading departments to allow students from either background to develop an advanced understanding of the place of media, film and performance in contemporary politics, and vice versa. Students from politics and international politics will have the opportunity to develop skills in media analysis and practice, and specialise in film, performance, or creative media, and those from film, performance and media will gain a deeper understanding of contemporary theories and practices of politics, and specialise in a particular area, for example, Latin America, Africa, or the Middle East, or in a particular aspect of international politics, for example, post-colonialism, or critical international relations. Graduates from other disciplines such as anthropology, sociology, cultural studies and philosophy will also have the opportunity to engage with these exciting and intensely political new synergies.

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2. Outline of academic structure

The MA Politics, Media, Performance has a scheme-specific core module in each semester, which all

students must take. You must also choose two further modules each semester from the list options

provided, bearing in mind that you must take at least one option from International Politics (IP) and

at least one option from Theatre, Film and TV (TPM and TFM) over the course of the year.

Basically, this structure enables you to curate your own programme. You can prioritise and balance

the three areas according to your disciplinary background and interests or experience new

perspectives – it’s up to you! We will, of course, offer you any advice you need and be on hand to

discuss your choices with you.

The other decision you’ll have to make is whether you want to your final Dissertation to be

supervised by a tutor in International Politics or Theatre, Film and TV, and select the module

accordingly. This doesn’t stop you doing interdisciplinary work – indeed, we encourage that as being

in the spirit of the MA – but is a practical way of ensuring you have access the relevant subject

expertise.

Semester 1 Core (20 credits) TPM1720 Politics, Media, Performance: Transdisciplinary Critical Frameworks Options (Choose TWO 20 credit modules) IPM4220 The State Through the Ages IPM6620 Understanding Wales in and Age of Global Transformation TFM2420 From Avant-Garde to Documentary TPM4820 Dramaturgies of the Everyday TPM1220 Compositional Practices (practical performance module) Semester 2 Core (20 credits) TPM1920 Politics, Media, Performance: Encounter and Event Options (Choose TWO 20 credit modules) IPM1320 Postcolonial Politics IPM8420 Islam and Modernity

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IPM4020 International Communications in Asia-Pacific: Power, Peoples and Propaganda TFM4420 Film and Representation TPM1820 Engaging Publics Semester 3 Options (60 Credits) (Choose EITHER 60 credit module) IPM0060 Dissertation TPM0860 Research Project (dissertation)

3. Module Information: Semester 1

TPM1720 Politics, Media, Performance: Transdisciplinary Critical Frameworks Co-ordinator: Professor Adrian Kear (ack@aber.ac.uk) This module introduces a range of contemporary theories, conceptual frameworks and practical methodologies in the exploration of inter- and trans-disciplinary approaches to politics, media and performance. IPM4220 The State Through the Ages Co-ordinator: Dr Brieg Powell (brp8@aber.ac.uk) This module explores notions of the state and its alternatives throughout history. This not only allows consideration the formation and historical evolution of the state but also encourages an appreciation of the diversity of state forms which have emerged over the centuries. By exploring non-European and past understandings of the state the module seeks to challenge Eurocentric notions of political community. In addition, the question of political space will also be explored, locating the state within wider geographies of political power. Examples used in the module may include Greek city states, Middle Eastern states, post-imperial states such as Turkey, Iran and/or the UK, devolved states, and the development of 'neo-medievalist' understandings of international political order. Throughout its programme, the module will pay considerable attention to processes of and reasons for state formation. This encourages exploration of the further themes of economic development, nationalism, colonialism and the impact of military conquest and occupation on subsequent political structures. IPM6620 Understanding Wales in an Age of Global Transformation Co-ordinator: Dr Elin Royles (ear@aber.ac.uk) This multi-disciplinary module introduces students to how contemporary major global transformations play out at the sub-state level in the specific Welsh context. It examines the effects of changes in three areas: economic and social change, state restructuring, migration and identity. These areas are approached through different disciplinary perspectives that provide valuable frameworks to understand these global transformations, their implications and key intellectual debates that surround them in the Welsh context. It also provides a

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context to reflect on the different disciplinary perspectives and the key concepts and theoretical frameworks that they deploy. TFM2420 From Avant-Garde to Documentary Co-ordinator: Dr Kim Knowles (kik2@aber.ac.uk) The module Avant-Garde to Documentary introduces students to avant-garde filmmaking through the lens of documentary, and also to the myriad ways in which documentary film has drawn on unconventional techniques that align it more with modernist aesthetics than with traditional notions of reportage and objectivity. In this sense the module maps out two intersecting, and often inseparable, histories, allowing students to gain insights into both documentary and avant-garde filmmaking. The module will follow a loosely chronological structure, examining the importance of the factual and everyday to modernist aesthetics of defamiliarisation and the foregrounding of cinematic materials, and then moving on to one of the key, and most enduring, sub-genres of avant-garde documentary: the city film, or 'city symphony.' As the module moves on we will consider the British documentary movement, French cinema verite and John Grierson's work with General Post Office, considering the importance of technology in the development of new and innovative documentary film aesthetics. We will then examine a range of themes and approaches related to the phenomenology of the body, portraiture, science and nature, auto-ethnography, and memory, before considering recent intersections between gallery art and documentary, particularly through the re-embracing of narrative and classical pictorialism, as well as the implications of diverse exhibition spaces and the economies of attention and distraction. Drawing on a range of art historical and documentary film theories, and questions of politics and ethics, the module will provide students with a solid grounding in two boundary-breaking areas of film production. TPM480 Dramaturgies of The Everyday Co-ordinator: Dr Karoline Gritzner (kgg@aber.ac.uk) This module examines interdisciplinary approaches to performance studies and enables students to critically analyse how an understanding of performance in everyday life and in culture gives a context for the study of performance in theatre. The module aims to offer an introduction to ways of examining, reflecting on, and critically evaluating the phenomenon of performance in a highly technologised and globalised world. TPM1220 Compositional Practices Co-ordinator: Dr Karoline Gritzner (kgg@aber.ac.uk) This is a practical, participatory module that explores and enacts strategies, methodologies and techniques of making contemporary performance. Each session will concentrate upon a specific aspect of the compositional process and culminate in the creation of a short performance work that demonstrates the principles under examination. Whilst particular emphasis is placed upon the professional practices of staff involved, models and frameworks will also be drawn from key contemporary European theatre and performance makers.

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Semester 2

TPM1920 Politics, Media, Performance: Encounter and Event

Co-ordinator: Professor Adrian Kear (ack@aber.ac.uk)

Following on from TPM1720, this module examines the application of a range of

contemporary theories, conceptual frameworks and practical methodologies to the analysis

of contemporary political and aesthetic events. It highlights the importance of working

through empirical instances in order to generate theoretical insights as well as utilising

critical frameworks to understand the nature of the contemporary political events. The focus

of the module is on the analysis of political and aesthetic events, and the investigation of

corresponding theories of event. These event-analyses operate as case-studies in how we

might think through the relation between image, event, and situation in a way that draws

attention to their historically and politically contingent construction and formation.

IPM1320 Postcolonial Politics Co-ordinator: Professor Jenny Edkins (jfe@aber.ac.uk) This module provides an advanced introduction to the fascinating and intriguing study of postcolonial politics. Introduced as an area of study in Aberystwyth over ten years ago now - when postcolonialism was generally only studied in relation to comparative literature - postcolonial politics has become a wide-ranging and much debated field. It embraces critical development, explorations of continuing and often invisible neocolonial attitudes and practices, and possibilities for resistance, and it explores these topics through literature, film, art and music as well as the written word. Postcolonial politics was seen initially as a move beyond both `international relations', which tends to discuss relations between states or great powers, and `third world studies', which isolates certain parts of the world and discusses them separately. The old labels suggest a view of the world as split into the industrialised, developed west and the underdeveloped or developing south. Postcolonial politics, in contrast, sees these two areas as mutually constitutive. It examines how they come to be produced as distinct in so many ways, how these differences are perpetuated, and how they may be contested. Originally meant as a break away from traditional approaches, scholarship in postcolonialism and critical development has had a huge impact on the study of international politics, challenging the discipline to halt its disavowal of the historical experiences of colonialism, racism and conquest by which current international politics is framed, formulating critiques of its analyses and pointing out its blind spots. Postcolonialism in international politics is now a burgeoning field with its own large and ever-expanding community of scholars and a rapidly growing literature. IPM8420 Islam and Modernity Co-ordinator: Dr Ayla Gol (ayg@aber.ac.uk) This module explores the relationship between Islam and modernity and relations between the Muslim world and the West in the 21st century. It particularly focuses on some of the contemporary challenges encountering the Western modernity in the context of Islam and enables students to reflect on the concepts of Orientalism, Eurocentricism, identity, religion and culture in postcolonial studies. There is no prerequisite, and the module is available to students in all degree schemes.

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IPM4020 International Communications in Asia-Pacific: Power, Peoples and Propaganda Co-ordinator: Prof Gary Rawnsley (gdr1@aber.ac.uk) Communications technologies, processes and flows impact upon the role, distribution and effect of political and social power in the Asia-Pacific region. Communications help shape the internal political and social dynamics of a landscape defined by a range of political systems and models while also impacting on the region's engagement with issues such as human rights, war, poverty, the environment, and economic and human security. The territories in Asia-Pacific are engaged in complex mediated and unmediated communicative practices that influence their relations with each other and with other members of the international community. In short, analyses of globalisation can ignore neither the Asia-Pacific region nor the involvement and consequences of communication. This module introduces students to a broad analysis of the relationship between international politics and communication in the Asia-Pacific region. The module will provide a theoretical foundation - power, legitimacy, credibility, narratives, cultural imperialism and orientalism - and an empirical approach through examination of specific geographical, historical and issue-based case-studies. Topics for discussion include communications in war, public diplomacy and soft power, propaganda, the digital divide, the 'McDonaldisation' of Asia, the interaction of the global and local, and the Asian film industry. TFM4420 Film and Representation Co-ordinator: Dr Paul Newland (pnn@aber.ac.uk) Film and Representation is designed to interrogate the many ways in which films represent a variety of different peoples, objects and phenomena. In doing so, the module focuses on film as a cultural form that mediates reality; re-presenting aspects of this reality through moving pictures and sound. We will consider how class, race and gender have been constructed, interrogated, and critiqued by films. Attention will be paid to the ideological mechanisms of different modes of cinematic representation, and aesthetic and historical developments. We will ask questions such as: how are spaces and places represented on film? How are historical moments represented on film? How, in an increasingly complex, globalized world, can individual identity be depicted? How are marginalisation, exclusion and difference worked through in films? How is this done aesthetically and politically? How does film operate as a form that can facilitate embodied ‘affect’? How do films generate emotional responses? How far can film operate as visual and/or sonic poetry? Can film be philosophy? In order to attempt to answer these often difficult questions we will draw on a range of methodological approaches including semiotic theory (e.g. Saussure; Lévi-Strauss; Barthes), theories of discourse (e.g. Foucault), and phenomenology. We will also draw on theoretical work on ideology and hegemony (Althusser and Gramsci). TPM1820 Engaging Publics Co-ordinator: Dr Andrew Filmer (awf@aber.ac.uk) The module introduces a range of contemporary theories, creative approaches and practical methodologies in order to examine the relationship between research and professional practice in the creative arts and the audiences they address. It examines a range of conceptual frameworks and material practices, from analyses of ‘post-democratic’ discourse to the participatory practices of ‘relational aesthetics’, alongside the development of concrete public engagement strategies to support creative enterprise and sustainable research. The latter will be facilitated by a series of workshops and talks with professional artists, curators, and entrepreneurs.

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Semester 3 IPM0060 Dissertation Co-ordinator: Dr Gillian McFadyen (gmm09@aber.ac.uk) The dissertation is an important element of the Masters programme. It provides as opportunity for Masters students to research and write an independent piece of research of 14,000-15,000 words. The aim of the Dissertation is to assess a student's ability to analyse a large body of material, organise it, and write it up in a manner that sustains a persuasive argument. The requirement is not to produce original work; it is to write a piece of research that demonstrates a strong capacity for independent thought. Students are allocated a member of staff as their advisor who provides guidance on the structure and argument of the thesis. TPM0860 Research Project (dissertation) Co-cordinator: Professor Adrian Kear (ack@aber.ac.uk) The module encourages students to complete their MA through a sustained and detailed research enquiry into specific aspects relating to the intersection of performance, media and politics. Students can either develop a work of practice-based-research in the form of a substantial piece of live performance, with supporting documentation and evaluation, or submit a written dissertation on a research topic of their choice. The submission type, topic and methodology for the research will be identified with the help of a research proposal, to be submitted in Semester 1. Submission type, topic and methodology will be approved by the module coordinator and will depend on the availability of suitable resources and supervision. Students will work with the support of an assigned supervisor.

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4. Dates session 2017/2018

Michaelmas Term (1): Monday 25/09/2017 – Saturday 16/12/2017

Orientation Week/Induction/Registration: Monday 25/09/2016 – Friday 29/09/2016

Semester 1 Teaching: Monday 02/10/2017 – Saturday 16/12/2017

Christmas Vacation: Monday 18/12/2017 – Saturday 06/01/2018

Vacation period for full-time undergraduate and postgraduate students, and for

students on the International Foundation Programme.

Lent Term (2): Monday 08/01/2018 – Saturday 24/03/2018

Semester 1 Examinations: Wednesday 10/01/2018 – Tuesday 23/01/2018

Induction/Preparation for Semester 2: Wednesday 24/01/2018 – Saturday

27/01/2018

Semester 2 Teaching: Monday 29/01/2018 – Saturday 24/03/2018

Easter Vacation: Monday 26/03/2018 – Saturday 14/04/18

Vacation period for full-time undergraduate and postgraduate students, and for

students on the International Foundation Programme.

Easter Term (3): Monday 16/04/2018 – Saturday 02/06/2018

Semester 2 teaching: Monday 16/04/2018 – Saturday 05/05/2018

Reading/Revision Week: Monday 07/05/2018 – Saturday 12/05/2018

Semester 2 Examinations: Monday 14/05/2018 – Saturday 02/06/2018

NB: The University is usually completely closed over the statutory Christmas, New Year and Easter holidays. Please check holiday times carefully when working on your assessments – you may not always be able to access library and other facilities. The MA year is a calendar year and not the familiar academic year. It runs from late September to late September. The university is still geared to the academic year and most formal contact for the MA will fall within traditional term times. The summer period is intended mainly for independent work and completion of dissertation projects. This requires considerable forward-planning on your part. Please discuss your summer work schedule with your project/dissertation supervisor. Please note that some classes will be held during the summer period (dates subject to confirmation). You must check any planned periods of absence with the Postgraduate Coordinator or Postgraduate Administrator.

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5. Assessment dates session 2016/17

Please refer to information in the individual module blackboard sites for confirmed deadlines and assessment criteria for all assignments.

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6. Staff Contact Details Students are expected to obtain their e-mail log-on name and password from the Hugh Owen Library as soon as practicable after registration. The helpdesk there will guide you to the nearest public workstation. (For information, locations of other public workstations can be found at the following web site: http://www.inf.aber.ac.uk/ns3-uwaonly/wsr_summary.asp). Students should make a point of checking their e-mail messages at least once every day as they may include very important information. Students should always contact members of staff by e-mail and not by letter. If any problems or questions arise, students should always get in touch first with the relevant module co-ordinators (see module information). Adrian Kear (01970) 622834 (Professor of Theatre and Performance; MA PMP Co-ordinator) ack@aber.ac.uk Jenny Edkins 621765 (Professor of International Politics) jfe@aber.ac.uk Anwen Jones (Head of Department, TFTS) 621659 aej@aber.ac.uk Richard Beardworth (Head of Department, IP) 628637 rib17@aber.ac.uk Ceris Medhurst-Jones (TFTS Research Administrator) 621517 ekj@aber.ac.uk Rlaine Lowe & Donia Richards (IP PG Administrators) 622702/622708 inpstaff@aber.ac.uk Catrin Davies (TFTS Departmental Administrator) 622644 ctd@aber.ac.uk Karoline Gritzner 621507 (TFTS Departmental Taught Postgraduate Co-ordinator) kgg@aber.ac.uk Gillian McFadyen 622695 (IP Taught Postgraduate Co-ordinator) gmm09@aber.ac.uk Kate Egan (TFTS Departmental Research Postgraduate Co-ordinator) 628717 kte@aber.ac.uk Dafydd Sills-Jones (ILLCA Director of Postgraduate Studies) 628464 dfs@aber.ac.uk TFTS Departmental Office: Nicholas Strong (nis22@aber.ac.uk) 628471 Fax: 622831 Margaret Ames (TFTS Welfare Officer, Senior Tutor) 628488 mma@aber.ac.uk

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7. Other useful contacts Production facilities Becky Mitchell (Technical Manager) 621653 rem@aber.ac.uk for studio and rehearsal room booking and all technical enquiries Dorian Jones (Technical Tutor - Film and Television) 621508 dkj@aber.ac.uk for access to video and sound editing facilities Production Assistants 621654 Castle Theatre 624606 Sound Studio 624437 Media Centre Hugh Owen 622505 Research facilities Hugh Owen Library 622399 National Library of Wales 632800 Help Student Wellness Centre 622087 Computer Help Desk 622400 The Office of Postgraduate Studies 622219 G9, Cledwyn Building postgraduate.office@aber.ac.uk

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8. Department of Theatre, Film and Television

Departmental Style Guide This style guide serves as the basis for all undergraduate assignments submitted in the Department of Theatre, Film and Television, except in instances where your module co-ordinator specifically instructs you otherwise. The guide provides a brief outline of how to format written assignments, an explanation of what referencing is and why it is important, a brief definition of what plagiarism is and how to avoid it, and an introduction to the Harvard (author-date) system of in-text referencing.

1. How do I format my written assignments? During the course of your studies you will be asked to complete a variety of written assignments, including essays, portfolios, textual and critical analyses and notebooks. The instructions for these will vary and you should adhere to these closely. Dissertations in particular have special rules regarding the format in which they should be presented and the Dissertation Module Handbook details these. In general, however, there are some basic formatting conventions that you should follow whenever you submit written work:

• All written assignments must be presented in word processed format, unless you are instructed otherwise by the Module Co-ordinator or the assessment requirements of the module require so.

• Assignments should be single-sided, presented in 12pt. font and be double-spaced.

• Pages should be numbered consecutively in Arabic numerals (1, 2, 3, etc.) in the bottom right hand corner.

• Assignments must be fully referenced (see below).

• All quotations should be enclosed in single quotation marks.

• For longer quotations of 50 words or more, present the quotation as a separate paragraph and indented from the main text. Quotation marks are not required in this instance.

• In titles capitalize the first letter of the first word and of all the principal words including nouns and proper adjectives (e.g., Jurassic Park, A Midsummer Night's Dream, News at Ten).

• Use italics for titles of published books, plays, poems, films, journals and classical works (e.g., Citizen Kane, Twelfth Night).

• The italicizing of words, phrases or sentences for emphasis should be done sparingly. The same applies for underlining or emboldening text, or using exclamation marks!!!

• In Part 2 assessed coursework is not normally returned to you. If you wish to receive a copy with the marker’s comments, you should submit two copies of the assignment, one of which will be returned to you.

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2. What is referencing?

Referencing is a way of acknowledging how other peoples' ideas have influenced your thinking. It is also a way of presenting the evidence that underpins your understanding or interpretation. Referencing is important because it allows your reader to easily trace the sources you have used and to assess how you have used them. Referencing also increases the credibility and authority of your own work by demonstrating that you have spent time carefully researching your topic and consulting the work of others. Ultimately, good referencing also boosts your marks and helps you avoid the charge of plagiarism.

3. What is plagiarism?

Plagiarism is defined by Aberystwyth University as ‘the act of using someone else's work with an intent to deceive.’ (You can read the Aberystwyth University Statement on Plagiarism here: http://www.aber.ac.uk/en/student/ug-issues/exam-assess/handbook/section-13/). Plagiarism constitutes a form of unfair practice or cheating. It includes copying other people's work directly without using quotation marks or providing a reference, paraphrasing other people’s work without acknowledgement, or mixing your own words with someone else's. The penalties for plagiarism and unfair practice are heavy, and poor referencing can leave you open to accusations of plagiarism. When conducting research for assignments, the following tips can help you avoid plagiarism:

• Give yourself plenty of time to research and write your assignments.

• Seek help early if you are struggling to understand the assignment topic.

• When researching an assignment note the full details of any source you use (With internet sources, include the URL and the date of access).

• Always take notes in your own words.

• Always use quotation marks to clearly indicate quotations in your notes.

4. Using the Harvard (author-date) referencing style

The Harvard (author-date) system is very easy to use and is based on supplying reference information in the body of the text and in a reference list at the end of your assignment. It is important that you always include both in-text citations and a reference list. The Harvard (author-date) system does not use footnotes or endnotes. Citations When using the Harvard (author-date) system you always include an author's name, the year of publication and the page number whenever you paraphrase or quote from their text. This is included in the body of your text in round brackets and is called a citation. Over the page is an example:

'The primacy of Aristotle’s Poetics in theatrical theory as well as in literary theory is unchallenged' (Carlson, 1993, p.15).

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The exact form a citation takes can vary depending on its context, and the following example demonstrates a different, but still correct, citation:

Marvin Carlson (1993) states that, 'The primacy of Aristotle’s Poetics in theatrical theory as well as in literary theory is unchallenged' (p.15).

Here the author’s name is mentioned in the sentence and so doesn’t need to be included in brackets again. The year of publication follows the author’s name, but the page number is included after the quotation. A similar citation would also need to be used if we were to paraphrase, rather than directly quote, Carlson’s statement:

Marvin Carlson (1993) argues for the central importance of Aristotle’s Poetics in theatre theory (p.15).

If there are two authors for the source you wish to cite then simply include both names, or if there are more than three authors, then cite the first followed by ‘et al.’ (this is a Latin abbreviation meaning ‘and others’):

'A really good writer is always thinking, using ideas and facts from sources to shape and inform an argument' (Williams and Carroll, 2009, p. 25).

'Writing about an event in the past always involves constructing a version of it' (Zarrilli, et. al., p. xxii).

Occasionally you may find that an author quotes another author and that you want to quote the original. If it isn’t possible to find the original author’s work , then make it clear that you have not read the original, as in the following example:

Peter Brook seeks 'to articulate a universal art' (Lamont 1987, p. 6 cited in Carlson, 1993, p. 517).

In some cases you will not be able to locate all the information you need about a source. For example, there may be no author listed, or no year of publication, or there may be no page numbers. If there is no author, then use the organisation responsible for publishing the source instead:

(British Broadcasting Corporation, 2003, p. 20) If there is no organisation, then use the title of the source:

(Trends in Film Distribution, 1994, p. 77) If there is no date then simply state ‘n.d.’ where you would normally include the date of publication:

(Jones, n.d., p. 56)

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Finally, you may also find that you wish to include two sources with the same author and same year of publication. To avoid confusing your reader you can use an alphabetical lower case letter:

In her study of Lynch's early films, Jones (2003a, pp. 7-10) argues for this interpretation. However, she also admits (Jones 2003b, p. 63) that other studies …

Reference Lists and Bibliographies In the Harvard (author-date) system, your in-text citations always link with a reference list or bibliography at the end of your assignment in which you provide the full publication details for your sources. The difference between a reference list and a bibliography is that a reference list only includes the sources you have cited in your work. A bibliography includes all the sources you have consulted in the research process, even if you haven’t directly cited them in your final assignment. In general you should compile a reference list unless instructed otherwise by your module coordinator. The general principle behind your reference list is that it should help your reader to easily locate your original sources by providing the full bibliographic details of each source. So, each in-text citation should link with your reference list. To do this, your reference list should be organised alphabetically by the author’s surname (or by the organisation or title of the work if there is no author listed). The year of publication should always be included in round brackets after the author's name. For instance, if your reader were to see the following quotation and accompanying in-text citation in your assignment:

'Quotations should be relevant to your argument and used judiciously in your text' (Pears and Shields, 2010, p. 6).

Then in your reference list or bibliography they should be able to find the full bibliographic details by matching the authors' names and the year of publication:

Pears. R. and Shields, G. (2010) Cite them right: The essential referencing guide. 8th edn. Basingstoke: Palgrave Macmillan.

5. Examples of the Harvard (author-date) referencing style There are a wide variety of sources that you might wish to cite beyond printed books, everything from journal and newspaper articles, to live performances, film recordings, web sites, and social networking messages. Below is a list of the common types of sources that you may cite when writing assignments. This list isn't exhaustive and you may find that you wish to use a source which is not included below. The key principle is that if you should be consistent in applying the style of this reference system to your particular circumstances. You can also ask

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your module co-ordinator or tutor for advice, and consult the additional resources listed at the end of this guide under the heading 'Further Information'. Books Author(s) (year) Title. Edition – if not the 1st. Place of publication: Publisher. Books with a single author Neville, C. (2007) The Complete Guide to Referencing and Avoiding Plagiarism. Maidenhead: Open University Press. Books with two or three authors Pears, R. and Shields, G. (2010) Cite them right: The essential referencing guide. 8th edn. Basingstoke: Palgrave Macmillan. Books with more than three authors Zarilli, P. et al. (2006) Theatre Histories: An Introduction. Rev. edn. London and New York: Routledge. Edited books Herman, D. (ed.) (2007) The Cambridge Companion to Narrative. Cambridge, Cambridge University Press.

Edited books with two or three editors Crowley, D. & Heyer P. (eds.) (1995) Communication in History: Technology, Culture, Society. 2nd edn. White Plains, NY: Longman.

Chapters in edited books Slater, D. (1997) 'Consumer Culture and the Politics of Need', in Nava, M. et

al. (eds.) Buy this Book: Studies in Advertising and Consumption. London: Routledge, pp. 51-63.

Translated books Barthes, R. (1957) Mythologies. Translated by Annette Lavers. London: Cape. Anthologies Worthen, W. (2003) The Wadsworth Anthology of Drama. 4th edn. London:

Wadsworth Cengage Learning. E-books Benedetti, J. (2004) Stanislavski: An Introduction. NetLibrary [Online].

Available at: http://www.netLibrary.com (Accessed: 14 August 2011).

Journal Articles Author(s) (Year) 'Article Title', Title of Journal, Vol. no (Part no./Issue/Month), Pages, use p. or pp.

Printed Journal Articles

Leitch, T. M. (1990) ‘Twice-Told Tales: the Rhetoric of the Remake’, Literature-Film Quarterly, 1(3), pp. 138-49.

Journal Articles in Online Collections

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Scarpetta, G. and Dolan, J. (1984) 'Richard Foreman's Scenography: Examples from His Work in France’, The Drama Review: TDR, 28(2), pp. 23-31, JSTOR [Online]. Available at: http://www.jstor.org/stable/1145575 (Accessed: 23 July 2011).

E-Journals

Soffer, O. (2008) ‘The eraser and the anti-eraser: the battle over colour television in Israel', Media, Culture & Society, 30(6), pp. 759-775 [Online]. Available at: http://mcs.sagepub.com/content/30/6.toc (Accessed: 17 August 2011).

Newspaper Articles Author(s) (Year) 'Article Title'. Newspaper Title, Day and Month (abbreviated), Pages, use p. or pp. Newspaper Articles

Davies, L. (2011) 'European farmers expected to flout ban on battery hen cages’. The Guardian, 1 September, p. 7.

Online Newspaper Articles

Davies, L. (2011) 'European farmers expected to flout ban on battery hen cages’. The Guardian, 31 August [Online]. Available at: http://www. guardian.co.uk/environment/2011/aug/31/farmers-flout-battery-hen-ban (Accessed: 2 September 2011).

The internet Author(s) (Year that the site was published/last updated) ‘Title of page’, Title of site. Available at: URL (Accessed: date).

Webpages

ERIAL Project. (2011) Ethnographic Research in Illinois Academic Libraries [Online]. Available at: http://www.erialproject.org/ (Accessed: 1 September). Blogs Manaugh, G. (2011) ‘Urban Hurricane’, Bldg Blog, 27 August [Online]. Available at: http://bldgblog.blogspot.com/2011/08/urban-hurricane.html (Accessed: 28 August 2011).

Wikis ‘Rudolph von Laban’ (2011) Wikipedia [Online]. Available at: http://en.wikipedia.org/ wiki/Rudolf_von_Laban (Accessed: 18 August 2011).

Social Networking Sites Rebellato, D. (2011) ‘Dan Rebellato’, Twitter, 31 August [Online]. Available at: http://twitter.com//#!/DanRebellato (Accessed: 2 September 2011).

Youtube

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Robag88 (2011) Film psychology THE SHINING spatial awareness and set design 1of 2 [Online]. Available at: http://www.youtube.com/watch?v=0sUIx XCCFWw&feature=player_embedded (Accessed 25 July 2011).

Audiovisual Television programmes Torchwood (2011) BBC One Television, 1 September. Television programmes viewed online

‘Let’s Kill Hitler’ (2011) Doctor Who, Series 6, Episode 8, 27 August [Online]. Available at: http://www.bbc.co.uk/iplayer/ (Accessed: 29 August).

Television Programmes/Series on DVD/Blu-ray

‘Two Cathedrals’ (2006) The West Wing, Series 2, Episode 22. Directed by Thomas Schlamme. Written by Aaron Sorkin. First Broadcast 2001 [DVD]. California: Warner Home Video.

Films Citizen Kane (1942) Directed by Orson Wells [Film]. California: RKO.

Films on DVD/Blu-ray Citizen Kane (2004) Directed by Orson Wells [DVD]. California: Universal Pictures.

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Live Performances Plays

Romeo and Juliet by William Shakespeare (2011) Directed by Marcus Romer and Katie Posner [Aberystwyth Arts Centre, Aberystwyth. 19 November].

Performances

Corrieri, A. (2010) Musical Pieces/Quartet (for Anna Akhmatova) [Aberystwyth Arts Centre, Aberystwyth. 22 October].

Installations or Art Exhibitions Boursier-Mougenot, C. (2010) New commission for The Curve [Barbican Centre, London. 22 May].

Lectures and Lecture Notes Lectures

Rabey, D. (2010) Audience: Shakespeare’s Theatre [Lecture to TP10120]. 19 October. Lecture Notes on Blackboard Filmer, A. (2010) ‘Week 2: Cultural and Theatrical Competence’. Analyzing Performance [Online]. Available at: http://blackboard.aber.ac. uk (Accessed: 17 February 2011).

6. Further Information

If you need further help, or if you have any questions about referencing your work then first consult the member of staff for whom you are writing. The following printed and online sources have been consulted in the preparation of this guide and are highly recommended. Remember that these sources might depart from the style adopted in this guide, in which case you are to adopt the style outlined in this guide. The books listed below can all be found in Hugh Owen Library, in the ‘Effective Study Collection’ on Level F. Pears, R. and Shields, G. (2010) Cite them right: The essential referencing guide. 8th edn. Basingstoke: Palgrave Macmillan. Neville, C. (2007) The Complete Guide to Referencing and Avoiding Plagiarism. Maidenhead: Open University Press. Williams, K. and Carroll, J. (2009) Referencing and Understanding Plagiarism. Basingstoke: Palgrave Macmillan. Holland, M. (2006) BU guide to Citation in the Harvard Style [Online]. Available from: http://www.bournemouth.ac.uk/library/ citing_references/docs/Citing_Refs.pdf [Accessed 1 September 2011].

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De MontFort University (2009) The Harvard System of Referencing [Online]. Available from: www.library.dmu.ac.uk/Images/Selfstudy/Harvard.pdf [Accessed 31 August 2011].

Swinburne University of Technology (2011) Harvard Style Guide [Online]. Available from: http://www.swinburne.edu.au/lib/researchhelp/harvard_style. html [Accessed: 30 August 2011].

Department of Theatre, Film and Television Studies Aberystwyth University