New Perspectives for New Contexts

New Perspectives for New Contexts

Unit Handbook

Students may opt to study Work Related Learning or New Perspectives for New Contexts.  Students who wish to articulate to a Level 6 course should study New Perspectives for New Contexts.

Title:            New Perspectives for New Contexts

Level:                   5
Credit Points        15
Weighting:           1

Study Time:         150 hours

Commences:  Thursday 21st January 2010

Hand In Date: Draft: Thursday 25th February; Final essay: Friday 25th March. Both the draft and the final essay should be handed in at the course office no later than 4pm.

Unit Leader: Amanda Stephenson, email:


In this unit you will further develop your research, critical, and analytical skills in order to prepare you for a degree-level research project at level 6. You will look at the creative process in relation to your chosen specialism by examining the work of a particular practitioner or group of practitioners.You will consider the  themes and influences of the work as well as its cultural, historical,  intellectual and political context. You will analyse the work on the basis of the methodology/techniques used, as well as how the practitioners are positioned with respect to their contemporaries as well as the wider commercial and cultural context.

Outline syllabus

  • Research methodology
  • Generating ideas and perspectives
  • Creating an overview of your chosen subject
  • Development of critical argument
  • Organisation and presentation of research
  • Preparing a degree-level essay
  • Visual , literal and stylistic reference points

The syllabus is designed to help clarify your approach to research, which is an essential practical component of the design process as well as a necessary part of furthering your education. You will learn about research, for instance optimising the use of the library and specialist online research resources; developing concept-maps of your specialist area; using technology-forecasting techniques to create a realistic scenario of how your specialist area might develop in the short-term and creating a research report and illustrated presentation of your work. You will also learn how to deal with quotations and the use of copyright materials, how to format citations, references and bibliographies and how to present your research in both an academic and studio context.

Method of delivery
Lectures; seminars; individual and group tutorials.

A1     To identify links between your specialism and the relevant historical, contextual, cultural and conceptual frameworks.

A2     To apply and evaluate the organisational skills which will enable independent learning and self-management.

A3    To apply skills in sustained academic writing

A4    To enhance creative ambition

Learning Outcomes
On the completion of this unit, you will be able to:

LO1     Demonstrate your ability to make links between your specialism and the relevant historical, contextual, cultural and conceptual frameworks

LO2     Demonstrate knowledge and understanding of organisational skills and evidence of independent learning and self-management.

LO3    Demonstrate ability to apply underlying concepts, plan, structure and write critical argument in essay form as well as in presentations in a studio context.

Assessment requirements:

Submission of a 2,500 word essay, illustrated if appropriate, including:

Critical analysis of representative practitioners with regards to historical, cultural, political and technological context
Bibliography following AIB academic conventions            100%

Work should be word processed on white A4 paper, paginated and securely bound. The bibliography is additional to the overall word count.

Assessment criteria (specific criteria related to the learning outcomes and linked to the statement of generic assessment criteria matrix):

Evidence of the understanding and application of critical concepts presented in the breadth and depth of subject knowledge – Knowledge of key contextual and theoretical issues in the assessed work. (LO1, LO2 LO3)

Evidence of understanding through research and analysis - Demonstrated in the assessed work. (LO2)

Evidence of realisation through the communication of ideas -  Demonstrated in the assessed work  (LO1, LO2 LO3)

Reference material:
Bell, J. (1999). Doing your research project. (3rd ed.). Buckingham: Open University Press.
Gash, S. (1999). Effective literature searching for research. (2nd ed.). Aldershot: Gower Press.
Hart, C. (2001). Doing a literature search. London: Sage.

Glatthorn, A. (1998). Writing the winning dissertation. Thousand Oaks, Ca: Corwin Press.
Dewdney, A. & Ride, P. (2006) The New Media Handbook. Abingdon, Oxon Routledge
Rudestam, K. (2000). Surviving your dissertation. London: Sage.
Swetnam,D. (1997). Writing your dissertation – how to plan, prepare, and present your work successfully. (2nd ed.). Oxford: Oxford University Press.
Walliman, N. (2001). Your research project. London: Sage.
Laurel, B.(2001) Utopian Entrepreneur Cambridge Mass. MIT Press
Hayles, K. (2002) Writing Machines Cambridge Mass. MIT Press

Additional guidance on primary and secondary sources and other appropriate material will be provided by your tutor and Subject Librarian


Idea Notes


Rotten Tomatoes Videogame movie guide

Movies to consider:

date accessed = 3rd March 2011)

Alone in the Dark: Dir: Uwe Boll 

Budget: $20,000,000 (estimated)

Opening Weekend: $2,834,421 (USA) (30 January 2005) (2124 Screens)

Gross: $5,132,655 (USA) (13 February 2005

BloodRayne: Dir: Uwe Boll

Budget: $25,000,000 (estimated)

Opening Weekend: $1,550,000 (USA) (8 January 2006) (985 Screens)

Gross: $2,405,420 (USA) (22 January 2006)

Dead Or Alive: Dir: Corey Yuen

Budget: $21,000,000 (estimated)

Opening Weekend: $260,713 (USA) (17 June 2007) (505 Screens)

Gross: $480,314 (USA) (1 July 2007)

Dead Space (animated thing) Dir: Chuck patton

(straight to DVD)

Doom : Dir: Andrzej Bartkowiak

Budget: $60,000,000 (estimated)

Opening Weekend: $15,488,870 (USA) (23 October 2005) (3043 Screens)

Gross: $28,031,250 (USA) (27 November 2005)

Double Dragon : DirJames Yukich

Opening Weekend: $1,376,561 (USA) (6 November 1994) (1687 Screens)

Gross: $2,341,309 (USA) (20 November 1994)

Far Cry: Dir: Uwe Boll

Budget: $30,000,000 (estimated)

Opening Weekend: €305,200 (Germany) (5 October 2008) (201 Screens)

Gross: €566,594 (Germany) (2 November 2008)

Fatal Fury (1) Director: Hiroshi Fukutomi

Fatal Fury (2) : DirectorKazuhiro Furuhashi

Final Fantasy VII: Advent Children: DirectorsTetsuya Nomura, Takeshi Nozue

Halo Legends: Directed by

Hitman : DirectorXavier Gens

Budget: $24,000,000 (estimated)

Opening Weekend: $13,180,769 (USA) (24 November 2007) (2458 Screens)

Gross: $39,687,528 (USA) (9 March 2008)

House of the Dead : DirectorUwe Boll

Budget: $7,000,000 (estimated)

Opening Weekend: $5,683,280 (USA) (12 October 2003) (1520 Screens)

Gross: $10,199,354 (USA) (9 November 2003)

In the Name of the King: A dungeon Siege Tale. Director: Uwe Boll

Budget: $60,000,000 (estimated)

Opening Weekend: $2,984,524 (USA) (13 January 2008) (1632 Screens)

Gross: $4,535,117 (USA) (20 January 2008)

Max Payne Director: John Moore

Budget: $35,000,000 (estimated)

Opening Weekend: £1,004,995 (UK) (16 November 2008) (373 Screens)

Gross: $40,687,294 (USA) (11 January 2009)

Mortal Komat Director: Paul W.S. Anderson

Budget: $18,000,000 (estimated)

Opening Weekend: $23,283,887 (USA) (20 August 1995)

Gross: $70,445,672 (USA) (15 January 1996)

Pokemon The First Movie Directors: Michael Haigney, Kunihiko Yuyama

Opening Weekend: $31,036,678 (USA) (14 November 1999) (3043 Screens)

Gross: $85,744,662 (USA) (27 February 2000)

Postal Director: Uwe Boll

Budget: $CAD20,000,000 (estimated)

Opening Weekend: $282,750 (USA) (26 May 2008) (13 Screens)

Gross: $18,002,623 (USA) (14 September 2008)

Prince of Persia Director: Mike Newell

Budget: $200,000,000 (estimated)

Opening Weekend: $37,813,075 (USA) (30 May 2010) (3646 Screens)

Gross: $90,755,643 (USA) (19 September 2010)

Professor Layton and the Eternal Diva Director: Masakazu Hashimoto

Resident Evil Director: Paul W.S. Anderson

Budget: $33,000,000 (estimated)

Opening Weekend: $17,707,106 (USA) (17 March 2002) (2528 Screens)

Gross: $40,119,709 (USA) (21 May 2002)

Silent Hill. Director: Christophe Gans

Budget: $50,000,000 (estimated)

Opening Weekend: $20,152,598 (USA) (23 April 2006) (2926 Screens)

Gross: $46,982,632 (USA) (18 June 2006)

Street Fighter Director: Steven E. de Souza

Budget: $35,000,000 (estimated)

Opening Weekend: $6,859,495 (USA) (23 December 1994) (1671 Screens)

Gross: $33,423,521 (USA)

Super Mario Bros Directed by

Budget: $42,000,000 (estimated)

Gross: $20,915,465 (USA)

Tekken Director: Dwight H. Little

Budget: $35,000,000 (estimated)

Opening Weekend: PHP 4,501,429 (Philippines) (8 August 2010) (20 Screens)

Gross: PHP 8,386,114 (Philippines) (5 September 2010)

Tomb Raider Director: Simon West

Budget: $80,000,000 (estimated)

Opening Weekend: $47,735,743 (USA) (17 June 2001) (3308 Screens)

Gross: $131,144,183 (USA) (23 September 2001)

Wing Commander (freddie Prinze jr) Director: Chris Roberts

Budget: $30,000,000 (estimated)

Opening Weekend: $5,114,365 (USA) (14 March 1999) (2019 Screens)

Gross: $11,576,087 (USA) (30 May 1999)

( side note movies:

Uwe Boll (german director that does game movies)

title ideas:

“Discourse on video game movie tie-ins in reference to why they’re produced even though they are shit and invariably don’t do well. (barring in certain circumstances).”

Essay Structure:

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Structure of Essay:

Working Title:

Discourse on video game movie tie-ins in reference to why they’re produced even though they are shit and invariably don’t do well. (Barring in certain circumstances).


Introduction: Outline Idea of essay.

Background history: The movies that have been released.

How it works: Why these movies are made?

Current Situation: How successful/well received these movies have been.

Concept Map:

Principle design and production Tools:

Future Prospects:


Bibliography and references (urls etc):

Shinji Aramaki

(segment “The Package”)

Hideki Futamura

(segment “Origins”)

Toshiyuki Kanno

(segment “The Babysitter”)

Tomoki Kyôda

(segment “Prototype”)

Kôichi Mashimo

(segment “Homecoming”)

Yasushi Muraki

(segment “Prototype”)

Daisuke Nishio

(segment “Odd One Out”)

Frank O’Connor

(creative director)

Mamoru Oshii

(creative director) (segment “The Duel”)

Koji Sawai

(segment “Homecoming”)

Keiichi Sugiyama

(co-director) (segment “Origins II”)

Takahiro Tanaka

(co-director) (segment “Origins”)

Hiroshi Yamazaki

(segment “The Duel”)

Annabel Jankel

Rocky Morton

Roland Joffé


Dean Semler