Module Catalogue 2024/25

Pre Requisite Comment

N/A

Co Requisite Comment

N/A

Aims

The purpose of this module is to examine representations, recreations, and receptions of the past in multiple forms of medieval and modern fiction. We will analyse and contextualise a selection of films, epic poems, television shows, novels, and games, in order to explore the complex relationship between history and fiction. In the process, we will draw upon and respond to critical evaluations of these fictions, historiography on the periods represented (and the periods in which the fictions were produced), and scholarship on public history. What do historical fictions tell us about a society's relationship with its past(s)? How are these fictions created, and how do audiences respond to them? Which stories and settings are portrayed time and again, and which ones are more marginalised?

At the same time, we will reflect upon the role of imagination in the work of the historian and in the creation of 'factual' histories. What can we gain by thinking about historical questions through fiction? How far do historiographical debates and cultural controversies filter through into fictional representations? What does it mean to create a narrative out of the past, whether it is intended as fiction or not? To paraphrase Robert Rosenstone, can fiction be a valid way of doing history?

Ultimately, this is a module about taking historical fictions seriously on their own terms, rather than nitpicking factual accuracy.

Outline Of Syllabus

The fictions covered will vary from year to year; some will be picked by students taking the module. They will include modern films, television, games, at least one novel, together with pre-modern plays and/or epic poems.

Topics covered are likely to include:

- alternate histories
- difficult pasts
- 'national' cinemas and national histories
- old favourites, retold (e.g. Robin Hood, King Arthur)
- medievalism
- historical fantasies (invented worlds inspired by history)
- interactive fictions (videogames, boardgames, RPGs)

Themes running through module will include:

- creating and reading narratives
- genre: what type of story are we in?
- technology
- audiences, markets, and reception
- representation, power and cultural appropriation
- changing tastes and trends

The second and third workshops will be student-led, in order to bring an element of co-design into the module. Students will choose the film (or TV show, or etc.) to be screened and discussed.

Intended Knowledge Outcomes

No prior knowledge of any of the histories is expected ahead of the module.

By the end of this module, students should:

- be familiar with key scholarly trends and debates relating to history and fiction, and public understanding of history;
- be familiar with key terminology for the analysis of different fictional forms;
- understand what genre is and how it can shape the way stories set in the past are told;
- have a strong grasp of the production and reception contexts of the fictions studies, and the historiography of the periods depicted;
- have reflected upon how their tastes and context shape the way they watch/read/play;
- have developed a clear (individual) argument about what makes good - and bad - historical fiction;
- have started location scouting and/or casting for the film adaptation of their dissertation.

Intended Skill Outcomes

By the end of this module, students should:

- be able to critically evaluate and appreciate historical fiction both as history and as fiction;
- be able to discuss, in class and in writing, the strengths and weaknesses of individual examples;
- be able to identify common narrative structures and techniques in fiction, and assess how individual examples use them;
- be able to write concise, accessible reviews of films/books/etc. that explain content and assess quality;
- be able to make a case for why the rest of the class should watch/read/play their favourite film/book/etc.

This is a History module, so it is not expected that students will become literary or film critics within a single semester - rather, we will aim to broaden our sense of what history is, and how it can be represented.

Teaching Rationale And Relationship

Seminars are a venue for students to discuss required reading and viewing, in response to questions set by the module leader. They enable students to test ideas and understanding, and to develop their skills of oral and aural communication.

Drop-in surgeries will offer one-to-one support for student preparation for the assessments.

Structured guided learning and guided independent study will take the form of prioritised reading and watching lists, accompanied by a series of questions to structure note-taking and reflection, and preparation for seminar discussion. Each week, study tasks and class discussion will be focused around one primary film or text, with readings chosen to support learning about the context of creation and reception, and to enable deeper thematic and technical analysis. All films will be available to stream for free; all texts will be available as ebooks and/or via Canvas; boardgames will be brought to class.

Workshops will consist of a film screening and discussion. The film for the first workshop will be chosen by the module leader. The second and third workshops will be each be led by a group of students. With guidance from the module leader, each group will select a film/TV show to screen (or a game to demonstrate and play), choose a reading for the whole class to prepare in advance, and develop 3-4 questions/talking points to structure the post-screening discussion. During the workshop, they will deliver a short introduction ahead of the screening, and lead the discussion.

Assessment Rationale And Relationship

The formative assessment will give students the chance to trial ideas ahead of the summative assessment, and is designed to enable them to take an active part in class discussion. Students have the option to either work individually or as a group. Those choosing to work individually can do so either in writing (by pre-circulating a 500-word structured review of that week's film/text to form part of everyone's preparation for the seminar) or orally (by delivering a 3-minute presentation at the start of the seminar on one of that week's themes and/or the set readings). Those choosing to work as a group will be able to select the film to be screened in either the second or third workshops, and must work together to deliver an oral presentation on the film and plan the structure of the workshop discussion. Topics for all presentations must be agreed in advance with the module leader, and support will be available in ML office hours. Verbal feedback will be given, and material can be incorporated into the summative assessments.

The first summative assessment will test students' skills and knowledge in close reading, contextualisation and analysis of two of the films/texts studied, along with their ability to write for different audiences. It will consist of a portfolio of reviews: 1 x 500-word academic-style review (with footnotes), and 2 x 250-word press-style reviews (without footnotes, although a bibliography will still be required). Examples will be provided. The essay will ask students to engage with one or more of the themes of the module, using as case studies at least one of the films/texts studied (and not already covered in their portfolio) plus at least one other historical fiction of their choosing. A list of essay questions will be provided, but students will be encouraged to develop their own questions, in consultation with the module leader.

Study-abroad, non-Erasmus exchange and Loyola students spending semester 1 only are required to finish their assessment while in Newcastle. Where an exam is present, an alternative form of assessment will be set and where coursework is present, an alternative deadline will be set. details of the alternative assessment will be provided by the module leader.

General Notes

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