This module aims to equip the student with a working knowledge of the concepts and theories fundamental to understanding contemporary culture and apply this knowledge in a practical group project. It aims to demonstrate to the student that a historical understanding of culture and creativity can provide a source of creative ideas, inspiration and intellectual material for media and creative production, and that art and intellectual history offer considerable resources for innovation in contemporary media and communication. The module will seek to establish significant intellectual, creative, academic and practical capabilities, all of which are central to playing a transformative role in future global media and creative industries. It will develop a student’s initiative, ability to take risks, experiment and test ideas. The module will aim to dissolve students’ assumptions on the nature of contemporary media content and impact, and through creative thinking processes re-define creative content, communication and engagement, audiences and experience.
- Understand the cultural and intellectual significance of the five key moments in modern cultural history, along with a broad awareness of the range of literatures that compose interlocking fields of study on these moments of creative disruption
- Actively relate theoretical or philosophical writings to cultural movements and radical shifts in artistic practice (its aims and values).
- Grasp the key theoretical terminology that is historically specific and critically appropriate to the specific artistic strategies and aims presented which can be used across the course.
- Practice interpretative competencies that allow for the appropriation of historical ideas, artistic approaches and innovations for contemporary creative media challenges.
- Identify, and understand the need for, professional skills in research, strategy, media application and delivery.
Calinescu, M. (1987) Five Faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism (Duke University Press)
Hall, S. ed. (1997) Representation: Cultural Representation and Signifying Practices (London: Sage)
Hughes, R. (1991) The Shock of the New (New York: Knopf)
O’Reilly, D., (2005) ‘Cultural brands/branding cultures,’ Journal of Marketing Management 21, pp. 573-88.
Madoff, S.H. (1997) Pop Art: A Critical History (Documents of Twentieth-Century Art) (London: T&H)
Poggioli, R. (1971) The Theory of the Avant-Garde (New York: Harper)
Schroeder, J.E. (2006) Brand Culture (Routledge)
Schroeder, J.E., Warren, S., Bell, E., (2013) The Routledge Companion to Visual Organization (Abingdon, Oxon and New York: Routledge)
Schroeder, J.E. (2005) ‘The artist and the brand’, European Journal of Marketing, 39, pp. 1291-1305.
Stern, B. B., Zinkhan, G.M., Holbrook, M., (2002) ‘The netvertising image: image communication model and construct definition’ (Journal of Advertising 31, Fall, pp. 15-28)