Institute of Humanities and Creative Arts
FLMS3009 Underworld UK is designed as an antidote to the more traditional view of British ‘heritage’ cinema. It aims to provide an overview of how shifts in the depiction of criminal and illegal activity in Britain since the end of the Second World War can act as a mirror to the shifting psychological and cultural concerns of the country as a whole. In this it aims to engage with a wide range of different critical and theoretical debates, from issues of national cinema, to genre, to debates surrounding criminality itself.
On successful completion of the module, students should be able to:
- critically interrogate the representation of issues such as criminality and otherness in post-war British cinema;
- critically evaluate the emergence of an alternative British character;
- utilise highly specialised scholastic skills related to genre studies and national cinema;
- display a high level of competence in researching and formulating a distinct academic thesis related to the concept of the underworld.
It is expected that you will attend all taught sessions, in the same way that attendance is expected in the workplace. Indeed regular attendance has a significant impact on student engagement, understanding and successful completion of University courses. Furthermore non-attendance will significantly affect your ability successfully to complete a module and may jeopardise your ability to undertake re-assessment in the event of failing a module.
Room information: Students are advised to check room details on the Live Timetable System link on the UW website Student portal.
Should on occasion class cancellations be necessary, notifications will be made in accordance with the Class Cancellation Policy, which can be found here: http://www.worcester.ac.uk/registryservices/documents/classcancellationpolicy.pdf
It is your responsibility as a student, just as it would be if you were an employee, to ensure that you are punctual and that your attendance has been recorded on the register each week.
Should you, for some unavoidable reason, be unable to attend a scheduled session (for example if you are ill) then you must send an email to email@example.com . Please include in your email your name and student number, the module code and name, the date of the missed session, and your reason for missing it. You should make sure that you copy the module tutor into the email and also contact your module tutor to make arrangements to catch up on any work you have missed.
Notification must be received within 6 days of the date of the missed session.
Alternatively you can inform IHCA of your absence via the telephone. Please ring 01905 542015 (the IHCA Office) with the required details.
Students with two or more unexplained absences may be required to attend a tutorial/ interview with the module leader, course leader or head of division to discuss their progress.
On this module you are expected to be courteous and attentive to your fellow classmates and to the module tutor. You are also expected to undertake the required reading each week and to view the film or films under question. Failure to do either of these things will severely impede your success on the module.
The use of mobile phones will not be tolerated in classes, lectures or screenings. Please turn off all phones before the lesson starts.
Please feel free to email me with any queries you have regarding the module, I will try to reply within 3 working days. My office hours are Monday afternoons between 12.30pm and 4pm. Please email me to see if alternative meeting times can be arranged.
Please Note: There are now no screenings for this module therefore you are required to have seen the film before the session. If you have problems obtaining the film please see the module tutor.
Set Texts (You should purchase these books):
Murphy, R. 2009. The British Cinema Book, 3rd Edition. London: BFI/Palgrave Macmillan.
Essential Reading (You will need to read sections of these books for your assessments):
Chibnall, S. & R. Murphy. 1998. The British Crime Film. London: Routledge.
Cohen, S. 2010. Folk Devils and Moral Panics. London: Routledge.
Dave, P. 2006. Visions of England. London: Berg.
Elliott, P. 2014. Studying The British Crime Film. London: Auteur Press.
Foucault, M. 1991. Discipline and Punish. London: Penguin.
Murphy, R. 1992. Realism and Tinsel: Cinema and Society in Britain, 1939-1949. London: Routledge.
Further Reading (You will find these books useful):
Spicer, A. 2001. Typical Men: The Representation of Masculinity in Popular British
Cinema. London: IB Tauris.
Jewkes, Y. 2004. Media and Crime. London: Sage.
Durgnat, R. 1971. A Mirror for England: British Movies From Austerity to Affluence. London: Faber and Faber.
Higson, A. 2003. Waving the Flag: Constructing a National Cinema in Britain. Oxford: OUP.
The resource list for this module can be accessed at: https://worc.rl.talis.com/lists/9CA6B443-A7E2-A14F-4454-FCFF736020AD.html
Module Calendar (please note, subject to change):
|1. Introductions – A Journey into the Underworld||27th September 2016||The Execution of Gary Glitter (Coldstream, 2009)|
|Required Reading||Becker, Howard S. 1973. “Kinds of Deviance”, in Outsiders: Studies in the Sociology of Deviance. New York: The Free Press, 19-39.|
|Supplementary Viewing and Reading||Altman, R. 2010. Film/Genre. London: BFI.
Cohen, S. 2010. Folk Devils and Moral Panics. London; Routledge.
Downes, D and P. Rock. 2011. Understanding Deviance: A Guide to the Sociology of Crime and Rule Breaking. OUP: Oxford.
Foucault, M. 1998. A History of Sexuality, Vol. 1 The Will to Knowledge. London: Penguin.
Greer, C. 2009. Crime and Media: A Reader. London: Routledge.
Jewkes, Y. 2010. Media and Crime. London: Sage.
Kelly, D. 1996. Deviant Behaviour: A Text Reader in the Sociology of Deviance. London: St Martin’s Press.
Maguire, M. 2007. The Oxford Handbook of Criminology. OUP: Oxford.
Sutherland, J.A and K. Feltey. 2009. Cinematic Sociology. London: Sage.
|2. Two Britains||4th October 2016||They Made Me a Fugitive (Alberto Cavalcanti, 1947)|
|Elliott. P. 2011. “Gangland UK” in Studying the British Crime Film. London. Auteur Press, pp.17-36.
Wollen, P. 2002. “Riff Raff Realism” in Paris Hollywood. London. Verso, pp. 183-198.
|Supplementary Viewing and Reading||Chibnall, S. 2004. Brighton Rock. London; IB Tauris.
Clay. A 1999. “Men, Women and Money: Masculinity in Crisis in the British Professional Crime Film 1946-1965.” In Chibnall, S. and R. Murphy (eds), British Crime Cinema. London: Routledge, pp.51-65.
Hornsey, R. 2010. The Spiv and the Architect. Minneapolis: University of Minnesota Press.
Hughes, D. 1964. “The Spivs” in Sissons, M and P.French (eds). Age of Austerity. London: Penguin, pp.86-105.
Marr, A. (2009), “The Look of the Forties”, in A History of Modern Britain (London: Pan), pp.50-57
Murphy, R. 1992. “The Spiv Cycle” in Realism and Tinsel: Cinema and Society in Britain 1939-49. London. Routledge, pp.146-167.
Smith, J. (2004), “Brighton Rock” in Gangster Films (London: Virgin Film), pp.70-78.
Spicer, A. 2001. Typical Men: The Representation of Masculinity in Popular British Cinema. London: IB Tauris.
Spicer, A. 2002. ‘British Film Noir’, in Film Noir. London. Longman, pp.175-203.
Thomas, D. 2003. An Underworld at War. London: John Murray.
The Green Cockatoo (William Menzies, 1939)
Brighton Rock (John Boutling, 1946)
Appointment With Crime (John Harlow, 1946)
Dancing With Crime (John Paddy Carstairs, 1947)
Noose (Edmund Greville, 1948)
No Orchids for Miss Blandish (St John Leigh Clowes, 1948)
|3. The Gangster||11th October 2016||Get Carter (Mike Hodges, 1971)|
|Required Reading||Syndney-Smith, S. 2006. “Changing Places: Touring The British Crime Film”, in Tourist Studies; 6:1; 79-94.
Warshow, R.  2009. “The Gangster as Tragic Hero” in L. Braudy and M. Cohen (eds), Film Theory and Criticism 7e. Oxford. OUP, pp.576-580.
|Supplementary Viewing and Reading||Barlow. J. 1968. The Burden of Proof. London. Pan.
Chibnall, S. 2003. Get Carter. London. IB Tauris.
Morton. J. 1992. “The Rise and Fall of The Firm”, in Gangland: London’s Underworld. London. Warner Books.
Morton. J. 2003. East End Gangland. London. Warner Books.
Murphy, R. 1993. Smash and Grab: Gangsters in the English Underworld 1920 – 1960. London: Faber and Faber.
Murphy, R. 1998. “A Revenger’s Tragedy: Get Carter” in S. Chibnall and R. Murphy (eds), British Crime Cinema. London. Routledge, pp.123-133.
Pearson. J. 1973. The Profession of Violence. London.
Smith. J. 2010. Withnail and Us: Cult Films and Films Cults in British Cinema. London. IB Tauris.
Thomas. D. 2005. Villains’ Paradise. London. John Murray Books.
Turner, A. 2008. Crisis? What Crisis? Britain in the 1970s. London. Aurum Books.
Little Caesar (Mervyn Le Roi, 1931)
The Public Enemy (William A. Wellman, 1931)
Scarface (Howard Hawks, 1932)
Performance (Donald Cammell and Nicolas Roeg, 1970)
Villain (Michael Tuchner, 1971)
McVicar (Tom Clegg, 1981)
The Long Good Friday (John MacKenzie, 1981)
The Krays (Peter Medak, 1990)
Gangster Number One (Paul McGuigan, 2000)
|4. The Hooligan||18th October 2016||Ill Manors (Ben Drew, 2012)|
|Required Reading||Garland, D. 2008. “On the Concept of Moral Panic”, in Crime, Media, Culture; 4:9; 9-30.|
|Supplementary Viewing and Reading||Chibnall, S. (2009), “Travels in Ladland: The British Gangster Film Cycle, 1998-2001” in Murphy, R. (ed.), The British Cinema Book (London: BFI) pp. 375-386
Cohen S.2010 . “Folk Devils and Moral Panics” in Greer, C. (ed), Crime and Media: A Reader. London: Routledge, pp.461-482.
Gormley, M. 2005. The New Brutality Film. London: Intellect Books.
Knudten, R and Schafer, S. (eds). 1970. Juvenile Delinquency: A Reader. New York: Random House.
Leggott, J. 2008. Contemporary British Cinema. London: Wallflower Books.
Muncie, J. 2009. Youth and Crime. London: Sage.
Neville, C. 2010. Classless. London: Zero Books.
Pitts. J. 2008. Reluctant Gangsters. London: Willan.
Wadsworth, M. 1979. Roots of Delinquency. London: Martin Robinson.
Bullet Boy (Saul Dibb, 2004)
Kidulthood (Menhaj Huda, 2006)
Shifty (Eran Creevy, 2008)
Harry Brown (Daniel Barber, 2009)
F (Johannes Roberts, 2010)
Shank (Mo Ali, 2010)
The Veteran (Mathew Hope, 2011)
|5. The Murderess||25th October 2016||Dance With a Stranger (Mike Newell, 1985)|
|Required Reading||Farrell, A.L.; Keppel R.D.; Titterington, V.B. 2013. “Testing Existing Classifications of Serial Murder Considering Gender: An Exploratory Analysis of Solo Female Serial Murderers”, in The Journal of Investigative Psychology and Offender Profiling, 10, 268-288.|
|Supplementary Viewing and Reading||Bedau, H and P. Cassell (eds). Debating the Death Penalty. Oxford: OUP USA.
Chadder, V. 1999. “The Higher Heel: Women and the Post-War British Crime Film, in Chibnall, S. and R. Murphy (eds), British Crime Cinema. London: Routledge, pp.66-80.
Downing, L. 2013. The Subject of Murder: Gender, Exceptionality and the Modern Killer. Chicago: University of Chicago.
Hancock, R. 1996. Ruth Ellis: The Last Woman to be Hanged. London; Orion.
Hood, R and C. Hoyle, C. 2008. The Death Penalty: A Worldwide Perspective. Oxford: OUP.
Kennedy, H. 1993. Eve was Framed: Women and British Justice. London: Vintage.
Lee, C. A. 2011. One of Your Own: The Life and Death of Myra Hindley. London: Mainstream.
Marks, L and T. Van Den Bergh. 1990. Ruth Ellis: A Case of Diminished Responsibility? London: Penguin.
Woodrow, J.C. 2012. Rose West: The Making of a Monster. London: Hodder.
Yield to the Night (J. Lee. Thompson, 1956)
Aileen Wurnos: The Selling of a Serial Killer (Nick Broomfield, 1993)
Pierrepoint: The Last Hangman (Adrian Shergold, 2005)
See No Evil: The Moors Murders (Christopher Menaul, 2006)
Into the Abyss (Werner Herzog, 2011)
|Week 6||1st November||WORCESTER WEEK|
|7. The Heist||8th November 2016||The League of Gentlemen (Basil Dearden, 1960)|
|Required Reading||Elliott, P. 2014. “The Heist” in, Studying the British Crime Film. London. Auteur Press, pp.59-76.
Mason, F. 2002. “Order, Chaos, Syndicates and Heists” in American Gangster Cinema. London. Routledge, pp.97-119.
Supplementary Viewing and Reading
|Burton, A, T. O’Sullivan and P. Wells. 1997. Liberal Directions: Basil Dearden and Post-war British Film Culture. London: Flicks Books.
Burton, G and T. O’ Sullivan. 2009. “Dramas of Masculine Adjustment II: Men in Action” in The Cinema of Basil Dearden and Michael Relph. Edinburgh. Edinburgh University Press, pp.167-202.
Chibnall. S. 2005. “The Italian Job” in B. McFarlane and, Baker, R.W (eds), The Cinema of Britain and Ireland. New York. University of Columbia Press, pp. 145-154.
Munby, J.1999. Public Enemies Public Heroes. Chicago. University of Chicago Press.
Murphy, R.1992. Sixties British Cinema. London: BFI.
Powell, D. 2009. “The Italian Job”, in Studying British Cinema: The 1960s. London. Auteur Press, pp.224-240.
Reynolds, B. 2011. The Autobiography of a Thief. London: Virgin.
Russell –Pavier, N and S. Richards. 2013. The Great Train Robbery: The Definitive Account. London: W and W.
Walker, A. 1974. Hollywood England. The British Film Industry in the Sixties. London: Michael Joseph.
The Lavender Hill Mob (Charles Crichton, 1951)
They Day They Robbed the Bank of England (John Guillermin, 1960)
A Prize of Arms (Cliff Owen, 1962)
Robbery (Peter Yates, 1967)
The Italian Job (Peter Collinson, 1969)
Sexy Beast (Jonathon Glazer, 2000)
The Bank Job (Roger Donaldson, 2008)
Tuesday (Sacha Bennett, 2008)
|8. The Underclass – 1||15th November 2016||Death Line (Gary Sherman, 1973)|
|Required Reading||Perks, M. 2001. “A Descent into the Underworld: Death Line”, in S. Chibnall and J. Petley (eds), British Horror Cinema. London. Routledge, pp. 145-155.|
|Supplementary Viewing and Reading||Ackroyd, P. 2011. London Under. London: Random House.
Brundson, C. 2007. “The London Underground” in London in Cinema: The Cinematic City Since 1945. London. BFI, pp.128-148.
Fletcher, 2011. The London Nobody Knows. London: The History Press.
Holmes, T. 2006. London’s Underworld. London: Anthem Press.
Hutchings, D. 1993. Hammer and Beyond: The British Horror Film. Manchester. Manchester University Press.
Hutchings, D. 1993. Hammer and Beyond: The British Horror Film. Manchester. Manchester University Press.
Koven, M. 2007. “The Slasher Film as Folklorist Social Script” in Film and Folklore. London. Scarecrow Press, pp. 113-134.
Kristeva, J. 1984. Powers of Horror: An Essay on Abjection. New York: Columbia University Press.
Mayhew, M. 2010. London Labour and the London Poor. Oxford. OUP.
Pirie, D. 2009. A New Heritage of Horror: The English Gothic Cinema. London. IB Tauris.
Sanjek, D. 1994. “Twilight of the Monsters” in W.W. Dixon (ed), Re-Viewing British Cinema, 1990-1992. London. SUNY Press, pp. 195-210.
Tyler, I. 2013. Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain. London: Zed Books.
Wells, HG. 2005. The Time Machine. London. Penguin.
Straw Dogs (John Houston, 1972)
Texas Chainsaw Massacre (Tobe Hooper, 1974)
Primitive London (Arnold L. Miller, 1965)
An American Werewolf in London (John Landis, 1981)
The Descent (Neil Marshall, 2005)
Creep (Christopher Smith, 2004)
|9. The Underclass – 2||22nd November 2016||Trainspotting (Danny Boyle, 1996)|
|Required Reading||Dave, P. 2009. “The Underclass” in Visions of England. London. Berg, pp.83-101.|
|Supplementary Viewing and Reading||Dalrymple, T. 2003. Life at the Bottom: The Worldview that Makes an Underclass. London: Ivan Dee.
Hill, J. 2011. Ken Loach. London: BFI.
Jones, O. 2012. Chavs: The Demonization of the Working Class. London: verso Books.
Lay. S. 2002. British Social Realism. London: Wallflower.
Leach, J. 2004. “The Common Touch: The Art of being Realistic” in British Film. Cambridge: Cambridge, pp.48-66.
Monk, C (1999), “Men in the 90s”, in British Cinema of the 90s (London: BFI), pp.156-165.
Murray, C. 1996. The Bell Curve: Intelligence and Class Structure in American Life. New York: Free Press Paperbacks.
Murray, C. 1999. The Underclass Revisited. London: AEI Press.
Murray, C. et al. 1996. Charles Murray and the Underclass: The Developing Debate. London: Civitas.
Smith, M. 2002. Trainspotting. London: BFI.
Welshman, J. 2007. The Excluded: A History of the Underclass. London: Continuum.
Ladybird, Ladybird (Ken Loach, 1994)
Nil By Mouth (Gary Oldman, 1997)
My Name is Joe (Ken Loach, 1998)
War Zone (Gary Oldman, 1999)
Fish Tank (Andrea Arnold, 2009)
Shed Your Tears and Walk Away (Jez Lewis, 2010)
|10. The Immigrant Underclass||29th November 2016||Dirty Pretty Things (Stephen Frears, 2002)|
|Required Reading||Pravinchandra, S. 2013. “Hospitality for sale, or Dirty Pretty Things”, in Cultural Critique, 85, 38-60.|
|Supplementary Viewing and Reading||Brunsdon, C. 2007. London in Cinema: The Cinematic City Since 1945. London. BFI.
Dave, P. 2011. “Social Realism and the Agonies of the Working Class: Ghosts” in Tucker, P. (ed). British Social Realism in the Arts Since 1940. London, pp. 30 – 32.
Fryer, P. 2010. Staying Power: A History of Black People in Britain. London: Pluto Press.
Gonzales, R. 2009. “Dirty Pretty Things: Migration, the State and the Contexts of Survival in the Global City” in Sutherland, J.A. and K. Feltey (eds), Cinematic Sociology. London: Sage.
HMSO. 2004. Gangmasters Licensing Act 2004.
Loshistzky, Y. 2010. Screening Strangers: Migration and Diaspora in Contemporary European Cinema. Bloomington. Indiana University Press.
Panayi, P. 2010. An Immigration History of Modern Britain. London. Longman.
Winder, R. 2013. Bloody Foreigners: The Story of Immigration to Britain. London: Abacus.
Wood, J. 2005. Nick Broomfield: Adventures in the Documentary Trade. London. Faber and Faber.
The Last Resort (Pawel Pawlikowski, 2000)
Gypo (Jan Dunn, 2005)
Ghosts (Nick Broomfield, 2006)
The Front Line (David Gleeson, 2006)
Exodus (Penny Woolcock, 2007)
Brick Lane (Sarah Gavron, 2007)
|11. Dangerous Sexualities I||6th December 2016||Victim (Basil Dearden, 1961)|
|Required Reading||Medhurst, A. “Victim: Text as Context” available online at http://screen.oxfordjournals.org/content/25/4-5/22.full.pdf|
|Supplementary Viewing and Reading||Bourne, S. 1996. Brief Encounters: Lesbians and Gays in British Cinema 1930-1971. London: Continuum.
Burton, A, T. O’Sullivan and P. Wells. 1997. Liberal Directions: Basil Dearden and Post-war British Film Culture. London: Flicks Books.
Coldstream, J. 2011. Victim. London: BFI.
Cook, M. and R. Mills. 2007. A Gay History of Britain. London: Greenwood World Publishing.
Donnelly, M. 2005. Sixties Britain. London: Pearson.
Dyer, R. 1990. Now You See It: Studies in Lesbian and Gay Film. London: Routledge.
Griffiths, R (ed), British Queer Cinema. London. Routledge,
Jivani, A. 1997. Its Not Unusual: History of Lesbian and Gay Britain in the 20th Century. London: Michael O’Mara Books.
Murphy, R. 1997. Sixties British Cinema. London. BFI.
Sandbrook, D. 2009. White Heat: A History of Britain in the Swinging Sixties. London. Abacus.
Wolfenden, J. et al. 1957. The Wolfenden Report. London: HMSO.
A Taste of Honey (Tony Richardson, 1961)
This Sporting Life (Lindsay Anderson, 1963)
Leather Boys (Sidney J. Fury, 1964)
The Killing of Sister George (Robert Aldrich, 1968)
Nighthawks (Ron Peck, 1978)
Prick Up Your Ears (Stephen Frears, 1987)
Empire State (Ron Peck, 1988)
|Christmas Vacation (12th December 2016 to 30th December 2016)|
|12. Dangerous Sexualities II||3rd January 2017||Mona Lisa (Neil Jordan, 1986)|
|Required Reading||Elliott. P. 2014. “Working Girls” in Studying the British Crime Film. London. Auteur Press, pp. 99-119.|
|Supplementary Viewing and Reading||Brundsen, C., “Not Having it All: Women and Film in the 1990s” in Murphy, R (ed), British Cinema of the 90s, London: Routledge, 1999, p. 168.
Campbell, R. 2005. Marked Women: Prostitutes and Prostitution in the Cinema. Milwaukee. University of Wisconsin.
HMSO. The Sexual Offences Act, 1967
Leach, J. 2004. “No Sex Please – We’re British: Sex, Gender, and the National Character” in British Film. Cambridge: Cambridge University Press, pp. 124 – 142.
Mayhew, H.  1987. “Prostitution” in Mayhew’s London Underworld. London. Century, pp.31-132.
Petrie, D. 2000. Screening Scotland. London: BFI.
Roberts, N. 1993. Whores in History. London: Diane Publishing.
Walkowitz, J., Prostitution and Victorian Society: Women, Class and the State, Cambridge: Cambridge University Press.
Young, L. 1995. Fear of the Dark: ‘Race’, Gender and Sexuality in the Cinema. London: Routledge.
The Flesh is Weak (Don Chaffey, 1957)
Prostitute (Tony Garnett, 1980)
Stella Does Tricks (Coky Giedroyc, 1996)
Everything (Richard Hawkins, 2004)
London To Brighton (Paul Andrew Williams, 2006)
|13. The Killer||10th January 2017||Messiah (Diarmuid Lawrence, 2001)|
|Required Reading||Seltzer, M. 1998. “Wound Culture” in Serial Killers: Death and Life in America’s Wound Culture. London: Routledge, pp. 253-292|
|Supplementary Viewing and Reading||Bould, M. 2009. Neo-Noir. New York. Colombia University Press.
Burn. G. 2004. Somebody’s Husband, Somebody’s Son: The Story of the Yorkshire Ripper. London. Faber and Faber.
Cettl, R. 2008. Serial Killer Cinema. London. McFarland.
Cross, R. 1981. The Yorkshire Ripper: The In-Depth Study of a Mass Killer and His Methods. London. Harper Collins.
Elliott, P. 2013. “The Serial Killer” in Studying The British Crime Film. London: Auteur.
Jarvis. B. 2007. “Monsters Inc.: Serial Killers and Consumer Culture” in C. Greer (ed), Crime and Media: A Reader. London: Routledge, pp.351-363.
Keesey, D. 2010. Neo Noir. London. Kamera.
Rafter, N. 2006. “Slasher, Serial Killer and Psycho Movies” in Shots in the Mirror: Crime Films and Society. Oxford. OUP, pp.87-108.
Schrader, P. 1972. “Notes on Film Noir”, in A. Silver and J. Ursini (eds). Film Noir: Reader. New York. Limelight.
Simpson, P. 2000. “The Serial Killer in Fiction”, in Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction. Carbondale: University of Southern Illinois Press, pp. 1-25.
Wilson, C. 1985. A Criminal History of Mankind. London: Grafton.
10 Rillington Place (Richard Fleischer, 1971)
Henry: Portrait of a Serial Killer (John McNaughton, 1986)
See No Evil: The Moors Murders (Christopher Menual, 2006)
Bronson (Nicolas Winding Refn, 2008)
Red Riding: In the Year of Our Lord 1974 (Julian Jarrold, 2009)
Red Riding – In the Year of Our Lord 1980 (James Marsh, 2009)
Red Riding – in the Year of Our Lord 1983 (Anand Tucker, 2009
Every effort will be made to make the films available for you to watch. However, it is your responsibility to ensure that you have seen the texts being discussed. You can source many of the films on Netflix, Amazon Instant or You Tube, however there may be some DVD purchase necessary. In that instance, you will be informed well ahead of time.
|Viewing via GDrive||Box of Broadcasts||Netflix||Amazon|
|2||They Made Me a Fugitive (1947)||x|
|3||Get Carter (1971)||x||X||X||X|
|4||Ill Manors (2009)||x||x||x||x|
|5||Dance With a Stranger (1985)||x|
|7||The League of Gentlemen (1960)||x||x|
|8||Death Line (1973)||x|
|10||Dirty Pretty Things (2003)||x||x|
|12||Mona Lisa (1986)||x|
The DVD Library:
The DVD library for FLMS3009 – Underworld UK is held in BB191. All DVDs are available for a short term loan (1 day) from Dr Paul Elliott. You can view the film in the Pierson or on your own laptop but you must return the DVD on the day of the loan.
Compare the representation of one crime (i.e. robbery) or one type of behaviour (i.e. homosexuality) in two films from different time periods. Discuss the social positioning of the crime or behaviour as well as its representation in the films themselves. Your essay will be marked according to how you address your chosen topic, present your argument, and the quality of your writing.
Length: 1500 words
Due: 7th November 2016
Choose ONE film from the course and discuss how it exemplifies the British underworld. How does this offer an alternative view of what it means to be British? Your essay will be marked according to how you address your chosen topic, present your argument, and the quality of your writing.
Length: 2000 words
Due: 16th January 2017
*Assignments will be graded within three weeks of submission*
You should submit your assignments online via your SOLE page. Please be sure you are familiar with the submission process. All assessments are due at 3pm on the deadline date.
If thought necessary, your work may be entered in the turnitin plagiarism checker.
The latest guidance and policy relating to referencing at the University of Worcester is available at http://library.worc.ac.uk/guides/study-skills/referencing.
Students studying this module must use the Harvard style of referencing.