UNIT TITLE Advertising Strategy Unit Code FADV5001 Location Farnham Level Five Duration (number of weeks) Twelve Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT

"Creative without strategy is called 'art.' Creative with strategy is called 'advertising.'"

(Richards, 1995) This unit will examine ‘strategy’ from a creative viewpoint, exploring cultural expressions such as ideology, myth, and cultural codes. It will also explore ‘cultural strategy’ and how to identify ‘social disruption’ which can dislodge ‘cultural orthodoxy’. You will explore a variety of strategies deployed by the world’s leading advertising agencies. The unit will be delivered through briefs that will specify the problem/s to be explored: (i) Through personal experience create a new product/service/event. (ii) Through words, create an event with a clear emotional message and its subsequent promotion/advertising campaign. Through this unit you will develop your practical and technical skills through workshops related to your briefs.

Richards, J.I, (1995), Advertising professor, The University of Texas at Austin

AIMS The aims of this unit are: A1 To provide scope for you to develop your capacity as strategically creative thinkers; A2 To demonstrate your understanding of a variety of creative and strategic thinking models; A3 Demonstrate and apply creatively strategic skills, in order to produce effective

communication, within the context of advertising. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Through application, demonstrate your critical understanding of creative thinking models

and their use within the context of advertising;

LO2 Produce work which demonstrates a critical understanding of a variety of creative and strategic thinking models; LO3 Work in a strategically flexible, creative and independent way, showing self- discipline, self-direction and reflexivity.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Develop models and processes to generate concepts and ideas; • Demonstrate 180º thinking where appropriate; • Demonstrate100 mph thinking where appropriate; • Deploy strategic models; • Apply analytical and intellectual skills regarding language and communication.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100% A project proposal, written by the student in reference to the brief; A new product/service/event based on own experience and subsequent branding and advertising campaign based on sound strategy. A narrative that

Portfolio *500 words

                                                            11 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

illustrates Decision-making process and the outcomes, including practical and technical skills. Evaluation*, this could be written or verbal.

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of a number of visible and invisible strategic paradigms used in advertising practice.

LO1

Understanding through analysis, reflection and consideration of paradigms and their use in advertising.

LO2

Application of strategic paradigms in response to the demands of the briefs.

LO3

REFERENCE MATERIAL2 Essential

11. Key reading list Author Year Title Publisher Location Fill, C., Hughes, G. & De Francesco, S.

2012

Advertising: Startegy, Creativity and Media

Pearson Education

New Jersey

Monahan, T. 2002 The Do-It-Yourself Lobotomy.

John Wiley & Sons.

New York

Stoklossa, U. and Rempen, 2010 Advertising: New Techniques for Visual Seduction.

Thames & Hudson.

London

Weston, A. 2007 Creativity for Critical Thinkers.

Oxford University Press.

Oxford,

Recommended Stokes, P. (2006) Creativity from Constraints: the Psychology of Breakthrough. New York, Springer Publishing. Vaske, H. (2002) Why Are You Creative? Maplewood, Mass. ,Five degrees below zero Press. Buzan, T. (2010 ) Use Your Head. Harlow, Pearson. De Bono (2011) Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas. London, Vermilion. Hawkins, B. (1999) How to Generate Great Ideas: Brainstorming and Creativity for Business Success. London, Kogan Page. Laurel, B. (2003) Design Research: Methods and Perceptions Cambridge Mass MIT Press Ruggiero, V (11ed 2013) The Art of Thinking: A Guide to Critical and Creative Thought Harlow Pearson Higher Education

                                                            2 Reference material should be in accordance with the Library Learning Services guidance.

UNIT TITLE Advertising Communication Unit Code FADV5002 Location Farnham Level Five Duration (number of weeks) Twelve Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT “The author, Julian Barnes, once said: ‘You could look at human beings as machines designed for storytelling. From body language to syntax, from inflection to timing, we’re the perfect shape and form for utilizing this amazing art form’. We explain ourselves through this medium. Who we are, what we like, love, hate, our ambitions, fears and yearnings are all communicated through this device.” (Hegarty, 2011, p.96) This unit will explore verbal, written and visual language in conjunction with genre in order to better understand creative and strategic communication exploiting ‘storytelling’. You will also be expected to consider the impact of technology within advertising practice, and the use of ‘direct targeted’ advertising. The unit will be delivered through two briefs that will specify the problem/s to be explored: (i) From the list supplied, you will select a visual genre in art, illustration, film or photography and

create a promotion/advertising campaign. This will provide you with an understanding of the visual relationship with memory/gestalts and your target group.

(ii) Through words – verbal and written - create an event with a clear emotional message and its

subsequent promotion/advertising campaign. Through this unit you will develop your practical and technical skills through workshops related to your briefs. Hegarty, J. (2011) Hegarty on Advertising - Turning Intelligence into Magic. London, Thames & Hudson.

AIMS The aims of this unit are: A1 You will be expected to better understand and apply written, verbal and visual language; A2 You will be expected to be knowledgeable of different genres in communication and

how they relate to an audience; A3 You will be expected to create strategic forms of communication and critically evaluate your

outcomes.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Develop and demonstrate a critical understanding of verbal, written and visual language

within the context of advertising; LO2 Through application, demonstrate a critical understanding of genre and its appropriate use

within the context of advertising; LO3 Critically examine and evaluate your strategically creative work.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity3 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Explore and apply verbal, written and visual language strategically; • Apply strategic and creative thinking models; • Explore differing genres within the context of communication; • Explore the impact of technology and targeted advertising in a screen-based culture; • Apply theories to practice when developing communication; • Workshops in classical creative writing paradigms.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100% Research regarding visual genre, narrative of strategic and creative processes leading to an outcome, including: practical and technical skills.

Portfolio *500 words

                                                            33 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

Research regarding written/verbal genre, narrative of strategic and creative processes leading to an outcome, including: practical and technical skills. Evaluation*, this could be written or verbal.

Table A2 – KIS Categories for Assessment

Assessment Type % of

assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of written, verbal and visual language within the context of advertising through exploring how others read, listen and see communication

LO1

Better understand through analysing the language traits of particular audiences, genre and appropriate media.

LO2

Application of appropriate genre and language when addressing a particular audience in response to the briefs.

LO3

REFERENCE MATERIAL4 Essential

Cobley, P. ed. 2001 The Routledge Companion to Semiotics and Linguistics

Routledge. London

Kress, G. 2009 Multimodality: A Social Semiotic Approach to Contemporary Communication

Bowdery, R. 2008 Copywriting: the Creative Process of Writing Text for Advertisements or Publicity Material.

AVA Publishing.

Lausanne

Mahon, N. 2010 Art Direction. AVA Publishing.

Lausanne

Cowgill. L,J. 2006 Writing Short Films 2nd ed Lone Eagle

Los Angeles

Recommended Applegate, E. (2004) Strategic Copywriting: How to Create Effective Advertising. Lanham, Rowman & Littlefield. Arens, W. and Schaefer, D. (3ed 2011) Essentials of Contemporary Advertising. London, McGraw Hill. Armstrong, S. (2ed 2001 ) Advertising on the Internet: How to Get Your Message Across on the World Wide Web. London, Kogan Page. Armstrong, S. (2009) Persuasive Advertising: Evidence-Based Principles. London, Palgrave Macmillan. Du Plessis, E. (2008) The Advertised Mind: Ground-Breaking Insights into How Our Brains Respond to Advertising. London, Kogan Page. Egami, Y. ed. (2008) Idea Industry: How to Crack the Advertising Career Code. New York, One Club Publishing. Fennis, B. and Stoebe, W. (2010) The Psychology of Advertising. Hove, Psychology Press. Fletcher, W. (2010) Advertising: a Very Short Introduction. Oxford, Oxford University Press. Franzen, G. (1999) Brands and Advertising. Henley-on-Thames, NTC Publication

                                                            4 Reference material should be in accordance with the Library Learning Services guidance.

UNIT TITLE Advertising Practice II Unit Code FADV5003 Location Farnham Level Five Duration (number of weeks) Twelve Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT “Advertising does not first get attention, and then create an emotion. Advertising creates the emotion, which results in attention… Emotion not only shapes our unconscious reactions to advertising; it also feeds into, shapes and controls our conscious thought about brands, products and services.” (Du Plessis, 2005, p.106) This unit will consider how you as an Art director and/ or Copywriter create emotional ad campaigns that will generate attention from the viewer, and will capitalise on your prior learning. Through a D&AD brief (or other student competition including IPA, Creative Circle, YCN) you will consider your audience/s and how they may respond to ad campaigns that you will create using verbal, written, visual and behavioural language. This will co-inside with briefs from your ‘International mentor’ – as you will be expected to respond to their briefs, affording you the opportunity to gain ‘real’ experience and develop a working relationship with an ad agency. Through this unit you will develop your practical and technical skills through workshops related to your briefs. Working on live briefs will present you with the opportunity to test your level of professionalism.

Du Plessis, E. (2005) The Advertising Mind, United Kingdom & USA, Millward Brown.

AIMS The aims of this unit are: A1 To better understand, through experience, the role of Copywriter and Art Director; A2 To employ the creatively strategic skills learned to create effective communication to address

a variety of problems; applying theory to practice; A3 To secure a number of ‘live’ briefs through mentoring and respond to them and within a team on a competition brief.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate, as an art director or copywriter, your capacity to create strategically directed

pieces of communication within the context of advertising; LO2 Through a number of ‘live’ briefs’, and competition briefs, demonstrate your ability to apply

theory to practice; LO3 Work productively in a group or team, showing abilities at different times to listen

contribute and lead effectively.

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity5 117 No. of hours of independent activity 183 No. of hours of placement activity 0 Lectures, seminars, group tutorials, supervised time in the studio, supported with workshops where appropriate. You will be expected to: • Work within a team as Art Director and/or Copywriter; • To synthesise work using academic theories (semiotics, strategic and creative models); • Workshops in type, typography and layout; • To develop a working relationship with your mentor: • Workshops to prepare for level 6.

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in

table A2

Word Count Approx

word count where

applicable

Portfolio 100% Briefs supplied by mentor and subsequent worksheets and outcomes, demonstrating strategic creativity and practical skills. Briefs supplied by D&AD or other student competitions, worksheets and outcomes, demonstrating strategic creativity and practical

Portfolio *500 words

                                                            55 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

skills. Reflection/evaluation of learning*

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of art direction and copywriting and their relationship in creating verbal, written and visual language.

LO1

Understanding the relationship of the image and the word through the use of a variety of theories including semiotics, syntax, gestalt, linguistics and gaze amongst others.

LO2

Application of professionalism, working with ‘live’ and ‘competition’ briefs.

LO3

REFERENCE MATERIAL6 Essential

Baldwin, J & Roberts, L

2006 Visual Communication: From Theory to Practice

AVA Publishing.

Lausanne

Bowdery, R. 2008 Copywriting: the Creative Process of Writing Text for Advertisements or Publicity Material.

AVA Publishing.

Lausanne

Mahon, N. 2010 Art Direction. AVA Publishing.

Lausanne

McKee, R. 1999 Story Methuen London Recommended Bullivant, L. ed. (2007) 4d Social: Interactive Design Environments. New York, John Wiley & Sons. Burgess, J. and Green, J. (2009) YouTube: Online Video and Participatory Culture. Cambridge, Polity Press. Ellestrom, L. (2010) Media Borders, Multimodality and Intermediality. London, Palgrave Macmillan. Heller, S. and Vienne, V. (2009) Art Direction Explained: At Last! London, Laurence King. Kress, G. (2009) Multimodality: a Social Semiotic Approach to Contemporary Communication. London, Routledge. Mahon, N. (2010) Art Direction. Lausanne, AVA Publishing. Maslen, A. (2010) The Copywriting Sourcebook: How to Write Better Copy Faster. London, Marshall Cavendish. Seddon, T. and Herriott, L. (2009) Art Directing Projects for Prints: Solutions and Strategies for Creative Success. Hove, Rotovision. Williams, R. and Newton, J. (2007) Visual Communication: Integrating Media, Art and Science. Mahwah, Lawrence Erlbaum.

                                                            6 Reference material should be in accordance with the Library Learning Services guidance.

UNIT TITLE Contextual and Theoretical Perspectives Unit Code FADV5004 Location Farnham Level 5 Duration (number of weeks) 24 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT

This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form.

Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities.

Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development.

Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Photographic meaning

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narration and navigation

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship

between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning.

AIMS

A1 To articulate a model of complexity within cultural practices in relation to the production and consumption of meaning.

A2 To encourage positional argument through an analysis and evaluation of the possible relationships between theory and practice.

A3 To promote theoretically driven, research-based independent study through the development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES

LO1 Identify a range of contextual and theoretical paradigms related to the possible meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the analysis and evaluation of a variety of theoretical and contextual resources.

LO3 Demonstrate an ability to undertake research, through the development of individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 28

No. of hours of independent activity 272

No. of hours of placement activity 0

This will comprise:

Activities drawn from Lectures, tutorials, seminars and independent study

ASSESSMENT REQUIREMENTS

Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in

table A2

Word Count Approx word count where applicable

Essay 50 Written assignment (eg essay)7

2000-2500

Essay 50 Written assignment (eg essay)

2500

PLEASE SELECT

PLEASE SELECT

PLEASE SELECT

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 100 Coursework

Report Coursework

Dissertation Coursework

Portfolio Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical

Table A3 – Summary KIS data

Assessment Category Total % for Unit

                                                            7 Manually type the correct selection from the list available on double clicking in the box

Written Coursework 100 Practical

Table A4 – Assessment Criteria

CRITERION MAPS TO LEARNING OUTCOME Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

REFERENCE MATERIAL

Essential

Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage

Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge

Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer)

Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended

Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber

Cashmore, E. (2006). Celebrity / Culture. London: Routledge

Bourdieu, Pierre. (2010). Distinction London: Routledge

Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial

Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press

McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press

Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage

Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge

UNIT TITLE Contextual and Theoretical Perspectives (Study Abroad Option)

Unit Code FADV5005 Location Farnham Level 5 Duration (number of weeks) 12 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT

This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form.

Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities.

Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development.

Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Photographic meaning

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narration and navigation

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning.

AIMS

A1 To articulate a model of complexity within cultural practices in relation to the production and consumption of meaning.

A2 To encourage positional argument through an analysis and evaluation of the possible relationships between theory and practice.

A3 To promote theoretically driven, research-based independent study through the development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES

LO1 Identify a range of contextual and theoretical paradigms related to the possible meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the analysis and evaluation of a variety of theoretical and contextual resources.

LO3 Demonstrate an ability to undertake research, through the development of individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 18

No. of hours of independent activity 282

No. of hours of placement activity 0

This will comprise:

Activities drawn from Lectures, seminars, tutorials, and independent study

ASSESSMENT REQUIREMENTS

Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in

table A2

Word Count Approx word count where applicable

Essay 50 Written assignment (eg essay)8

2000-2500

Essay 50 Written assignment (eg essay)

2500

PLEASE SELECT

PLEASE SELECT

PLEASE SELECT

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay 100 Coursework

Report Coursework

Dissertation Coursework

Portfolio Coursework

Project output (other than dissertation) Coursework

                                                            8 Manually type the correct selection from the list available on double clicking in the box

Set exercise (not under exam conditions, e.g. critiques) Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical

Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100 Practical

Table A4 – Assessment Criteria

CRITERION MAPS TO LEARNING OUTCOME Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

REFERENCE MATERIAL

Essential

Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage

Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge

Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer)

Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended

Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber

Cashmore, E. (2006). Celebrity / Culture. London: Routledge

Bourdieu, Pierre. (2010). Distinction London: Routledge

Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial

Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press

McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press

Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage

Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge