DCU Home | Our Courses | Loop | Registry | Library | Search DCU
<< Back to Module List

Module Specifications.

Current Academic Year 2024 - 2025

All Module information is indicative, and this portal is an interim interface pending the full upgrade of Coursebuilder and subsequent integration to the new DCU Student Information System (DCU Key).

As such, this is a point in time view of data which will be refreshed periodically. Some fields/data may not yet be available pending the completion of the full Coursebuilder upgrade and integration project. We will post status updates as they become available. Thank you for your patience and understanding.

Date posted: September 2024

No Banner module data is available

Module Title
Module Code (ITS)
Faculty School
Module Co-ordinatorSemester 1: Jennifer Mooney
Semester 2: Jennifer Mooney
Autumn: Jennifer Mooney
Module TeacherNo Teacher Assigned
NFQ level 9 Credit Rating
Pre-requisite Not Available
Co-requisite Not Available
Compatibles Not Available
Incompatibles Not Available
Coursework Only
Description

The first section of this module looks at picturebooks and graphic novels from within the English-speaking world and elsewhere; how the picturebook, the comic book and the graphic novel intersect and influence each other. The second section of the module introduces students to films for children, and considers the differences between how a film tells a story and other more traditional forms and genres; it also explores issues related to production and the relationship between the cinema and the market place. The purpose of this module is to develop students’ understanding of the language and conventions of polysemic film and print narratives. In this module students develop knowledge and skills in how to discuss polysemic narratives and become familiar with key visual texts.

Learning Outcomes

1. On successful completion of this module the learner will be able to: LO1 1. Demonstrate an appreciation of the development of polysemic film and print narratives for children and young adults LO2 2. Show an appreciation of the differences that exist between polysemic film and print narratives and other forms and genres LO3 3. Manifest an ability to distinguish between different types of visual narratives in formal terms LO4 4. Appreciate how the interpretation of visual storytelling and reading has been influenced by recent theoretical research



Workload Full-time hours per semester
Type Hours Description
Total Workload: 0

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

Module Content
The first section of this module introduces students to films for children, and considers the differences between how a film tells a story and other more traditional forms and genres; it also explores issues related to production and the relationship between the cinema and the market place. Audio-visual material will be used. The second section of the module looks at picturebooks and graphic novels from within the English-speaking world and elsewhere. How the picturebook, the comic book and the graphic novel intersect and influence each other, and how national and international trends are part of this will be considered. The purpose of this module is to develop students’ understanding of the language and conventions of polysemic film and print narratives. In this module students develop knowledge and skills in how to discuss polysemic narratives and become familiar with key visual texts. Students will participate in the following learning activities: close examination of a range of visual narratives.

Secondary Reading
Picturebooks Beckett, Sandra. Crossover Picturebooks. London: Routledge, 2012. Beckett, Sandra. ‘Picturebooks that Transcend Boundaries’. In Valerie Coghlan and Keith O’Sullivan, eds. Irish Children’s Literature and Culture: New Perspectives on Contemporary Writing. London: Routledge, 2011. Colomar, T. et al, eds. New Directions in Picturebook Research. London, Routledge, 2010. Graham, J. “Reading contemporary picturebooks” in K. Reynolds, K. (Ed.) Modern children’s literature, Basingstoke: Palgrave Macmillan, 2005, pp.209-226. Lewis, David. Reading Contemporary Picturebooks: Picturing Text. London and New York: Routledge, 2001. Nikolajeva, Maria and Scott, Carole. How Picturebooks Work. New York and London: Garland Publishing, 2001. Nodelman, P. “Decoding the images: Illustration and picture books”, in P.Hunt (Ed.) Understanding children’s literature, London: Routledge, 1999, pp.69-80. McCloud, Scott. Understanding Comics: The Invisible Art. New York: HarperCollins, 1993 or later editions). Pictiúr: Contemporary Children’s Book Illustrators from Ireland. Children’s Books Ireland, 2013 Salisbury, Martin and Morag Styles. Children’s Picturebooks. The Art of Visual Storytelling. London: Lawrence King, 2012 and 2nd ed. 2020. Sipe, L.R. and Sylvia Pantaleo, eds. Postmodern Picturebook: Play, Parody and Self-Referentiality. London and New York: Routledge, 2008. Whalley, J.I., and T. R. Chester. A History of Children’s Book Illustration. John Murray, 1988. • www.picturingbooks.com Film Andrews, Wojik, Children’s Films: History, Ideology ,Pedagogy, Theory. New York: Garland Publishing, 2000. Easthope, Antony, Contemporary film theory. London; New York: Longman, 1993 Gordon, Andrew. "E.T." as Fairy Tale ("E.T." comme conte de fée), Science Fiction Studies, Vol. 10, No. 3, 1983, pp. 298-305 https://www.jstor.org/stable/4239568 Griswold, Jerry. “There’s No Place but Home: The Wizard of Oz”, The Antioch Review, Vol. 45, No. 4, The Romance of Toughness, 1987, pp. 462-475 https://www.jstor.org/stable/4611799 Hedges, Ines. “Scripting Children’s Minds E.T. and The Wizard of Oz”, Breaking the Frame: Film Language and the experience of Limits. Bloomington and Indeanapolis: Indiana University Press, 1999, pp. 109-121. Monaco, James. How to Read a Film: the art, technology, language, history, and theory of film and media. New York: Oxford University Press, 1981

Assessment Breakdown
Continuous Assessment% Examination Weight%
Course Work Breakdown
TypeDescription% of totalAssessment Date
Essayn/a100%n/a
Reassessment Requirement Type
Resit arrangements are explained by the following categories:
Resit category 1: A resit is available for both* components of the module.
Resit category 2: No resit is available for a 100% continuous assessment module.
Resit category 3: No resit is available for the continuous assessment component where there is a continuous assessment and examination element.
* ‘Both’ is used in the context of the module having a Continuous Assessment/Examination split; where the module is 100% continuous assessment, there will also be a resit of the assessment
This module is category
Indicative Reading List

    Other Resources

    None

    << Back to Module List