Taught Postgraduate Programmes | Structure of MA programmes | MA module descriptors | MA fees and grants | Postgraduate Research
This unit sets out different theoretical approaches to advertising in media culture. It focuses on the historical emergence and development of advertising as social communication, looking at both changes in advertising texts and the changing contexts of their production and consumption. It also explores different critical approaches to the evaluation of advertising texts. These critiques are examined in relation to competing accounts of subjectivity and consumer experience in modern and postmodern culture.By the end of the modules students will be expected: to be able to demonstrate a critical understanding of academic approaches to the study of advertising; to have developed a critical capacity in the analysis of advertising texts; to be able to demonstrate a critical understanding of historical developments in advertising and to situate advertising texts in larger debates about society, politics, media and culture.
This module looks at adaptation as both a process and product. Key questions about the methodology of adaptation are posed as the basis of an ontological critical enquiry. Issues of colonization, acculturation and inter-culturalism are explored with reference to a number of key adaptations from and into prose drama and film. Students will focus on the ‘why’ and ‘what’ of adaptation in addition to acquiring the practical skills of ‘how’. Adaptation ethics, theories of ‘rewriting’ and ‘translation’ are addressed through a practice-based approach where students will adapt a piece of writing from one form into another.
This theory/practice unit examines the history of the moving image from the point of view of its soundtracks, moving through radio, silent film into sound cinema, music video, video games and interactive sound installations. In particular, the power of voice, music and sound effects over visual images will be explored from the perspective of emerging post-representation theories which emphasize the importance of affect and sensation in audio-visual culture. Theorists examined include Chion, Murch and Deleuze.
This unit provides an overview of the themes and modes of enquiry that distinguish contemporary feminist theory and seeks to develop students’ awareness of feminist approaches to questions of knowledge, sexuality, race, technology, identity and representation. Theorists examined include Brah, Butler, Cixous and Williams.
This unit aims to provide students with a comprehensive overview of current debates in cultural theory, to enable them to develop their own theoretical positions and to equip them for further research in any area of cultural studies, media studies or related fields at MA dissertation or post-graduate level. The unit will provide an opportunity to explore those dimensions of current philosophy, political theory and psychoanalysis which are central to debates in cultural studies and related fields. Examples of topics to be covered include Schizoanalysis and the 'Deleuzian Turn'; Deconstruction; Post-Marxist models of hegemony; Zizek and the New Lacanians; Jean Laplanche and the implications of post-Lacanian psychoanalysis; The legacy of 'French feminism'; Hybridity, multiculturalism and the post-colonial; Spinoza and Nietzsche and why they are read today; Empire and the multitude; Foucauldian theories of 'governmentality'.
This unit examines the context of media production through dealing with a range of theoretical and production issues. Among others, we look at the history and theory of film and television production, social and cultural contexts, the links to the history and practices of art and design, and issues raised by technological change. The unit offers a theoretical and historical context for students’ production work.
This module examines cultures of consumption through an interdisciplinary framework. The introductory sessions familiarize students with the broad historical and socioeconomic terms of debate. The module than moves through a variety of topics associated with cultures of consumption such as needs and desires, material culture as a form of communication, commodities and gifts, lifestyle, identity, gender, shopping, retail experiences, branding, marketing theory, taste cultures, globalization and institutional power. The aim of the module is to introduce key theories and methods and to permit students to reflect critically upon cultures of consumption through seminar discussion, essays and presentations.
The unit considers the impact of exile, especially the socio-cultural and psychological traumas associated with displacement. It examines marginalisation within ‘host’ societies and perceptions of ethnicity in and towards refugee communities. It considers new communal identities and the stimulus to creative activity in the context of exile. The unit assesses the cultural impact of forced migration in a globalised world.
This module explores theoretical and political issues in the field of cultural theory by focusing on the core themes which have informed the emergence of the field. It is particularly concerned with their use in the analysis of current and historical formations of power. Examples of topics addressed are: the post-modernity debate; the ‘Black Atlantic’ as counter-culture to modernity; cultures of capitalism; mass media culture and the consuming public; gender and sexuality in modernity; the politics and poetics of postmodernism; Raymond Williams’ ‘Long Revolution’; Foucault’s understanding of modern ‘regimes of knowledge’; Psychoanalysis and (post)modern discontent; structuralism and language; deconstruction and the politics of truth; the modern subject and the postmodern self; the changing nature of the sensuous experience of the body.
This unit concentrates on a variety of digital technologies that have been used by artists and cultural workers. A key issue is the question of whether an aesthetic specifically appropriate to the digital is in formation. Particular cultural-technological practices investigated include computer animation, interactive computer art and games, the electronic image, digital sound, video and hypertext. We address questions of form analytically– asking, for example, what the pixel submits in comparison to the grain of the photo, or how the fractal relates to the hypnogogic. Theoretical issues raised include the status of realism and authenticity in the digital era, digital visual anthropology, the place of creativity, the remoulding of audiences, whether or not there is a digital perspective, the implications of portability and reproducibility in the digital, the organic and the machinic. Sessions are managed by those with in-house expertise, but there will also be a number of guest spots, drawing on practitioners and theorists from digital enterprises as well as available music critics, artists and cultural commentators.
This unit addresses the cultural and political debates around the Internet as a new medium and digital media as a new cultural and technological practice. By taking an interdisciplinary perspective, the unit assesses the multiple contexts in which new media technologies are developed and consumed. It also looks at some of the key themes in the area of new media technologies (such as privacy, surveillance, censorship, work, space, gender, sexuality, subjectivity and authorship).
This unit is designed to provide students with the opportunity to pursue self-initiated work in an area of their choice. The dissertation, which on some programmes may include a media production component, should demonstrate an understanding of cultural theory and research methods and show evidence of original research. A written dissertation is usually between 12,000-15,000 words. Students choosing to do dissertations by production must also include a written analysis, but this will be proportionately shorter. Students may negotiate the ratio of written to production output from the following percentage weightings: 25/75, 50/50, 75/25.
The module aims to consolidate knowledge acquired and skills developed in earlier core modules through a piece of independent and original work. The main topic of study is an empirical issue or theoretical area of direct relevance to the topic of narrative research as chosen by the student and agreed with their supervisor. Dissertation length is approximately 15 000 words.
This module is provided for students intending to undertake a practice-based dissertation as a culmination of their specific programme. It is designed to give students the opportunity to pursue self-initiated research and production based on an area of their choice. The dissertation should demonstrate an understanding of theoretical perspectives pertinent to media practice, to contain a coherent implementation of research methodology and pre-production planning and show evidence of original research. A technical competence commensurate to postgraduate standards is also expected. This double dissertation module is assessed by a submission of a major practice-based work and a short written analysis.
As the theoretical core unit of the MA in Gender, Sexualities and Ethnic Studies, the main aim of the unit is to acquaint students with the many theories and debates accounting for gender, sexualities and ethnic relations within a broader analysis of the intersection of social differences and divisions, exclusions and inequalities. The main topics of study include: conceptual and methodological issues in theorising social divisions and the interrelationships between them; theorising sexualities and gender relations; theorising ‘race’, ethnicity and nation; theorising class inequalities and social exclusions; citizenship, identity and difference; gender relations and social reproduction.
The main aims of the unit are to investigate the different ways in which gender relations construct and are constructed by different phases of forced migration cycles. Main topics of study include: conceptual and methodological issues concerning a thorough integration of gender into studies of forced migration; intersection of gender, violence and displacement and their consequences for contemporary migration flows; differentiated needs of women and men in exile and their consequences for policy; gendered aspects of the experiences of settlement and their role in reconstructing place and identity; the interface of gender constructions and processes of empowerment in exile.
This module is structured thematically and taught by tutors from different specialist areas. Themes include Biography/Autobiography; The city/Landscape; Body/Mind; Identity/Belonging; The personal as political. Discipline topics include: Breathing Life into Fiction; The Poet’s Voice and Form; Writing Characters; Film Realisms. Students will read, examine, and discuss a range of published texts/films/plays and will workshop weekly writing towards a final piece
This unit introduces students to current debates in the field of postcolonialism concerning gender and sexuality. It explores feminist critiques of postcolonial theory through a study of key exponents in the field and as applied through a series of case studies. Arguing that sexual identities are racialised and that racial identities are sexual and gendered, the unit aims to provide students with an opportunity to explore areas of particular interest. Accordingly, the case studies provide a historicised analysis of contemporary and past events, offering a range of geographical foci.
This unit provides students with an understanding of selected contemporary feminist and film theories and the application of those theories to film analysis and textual deconstruction. Theories include: spectatorship, postmodernism, black feminism, reproductive and literary theories; and analysis of Orlando, Daughters of the Dust and Peeping Tom among other films (films may vary from year to year).
The module’s aim is to examine, discuss, critically evaluate and apply Foucault’s genealogical strategies in contemporary research in the social sciences. The module topics include the biographical, historical and philosophical contexts framing Foucauldian analytics; the archaeological method in focus; making sense of the genealogical turn; power/knowledge; the spatialization of power: discipline and bodies; technologies of the self; methodological encounters with feminism, ethnography and life narratives.
This module is structured around the study of writing in different genre. The module will ask what genre is, why we have genres and study ways of writing in different genre. Genres to be studied will include Travel Writing, Romance/Love, War, Comedy, and Satire. Students will read, examine, and discuss a range of published texts/films/plays and will workshop weekly writing towards a final piece.
This unit examines the processes and implications of convergence in media, information, telecommunications and computing and the history of policymaking and regulation in converging sectors. It also looks at key actors and forces shaping communications policy and draws upon approaches to the study of regulation and policymaking. We consider key issues for policy and regulation in the converging sectors include competition, standards, access, market entry, content, service delivery. We also address the implications of liberalisation and globalisation and the debate between public service and market models of communications and information policy.
The unit is broad and international in focus and students are encouraged to consider relationships between developments in communications across sectors, cultures and regions. However, the programme mainly focuses on developments in the UK, EU and US, comparing these with developments elsewhere, and using UK experience to illustrate more general points about developments in global communications.
This unit introduces students to current debates through evaluation of political-economic, sociological and cultural approaches to globalisation, the media and technology.
Over the last few years, television has become a key and very popular site for the dissemination of various kinds of history. Television celebrity historians such as Simon Schama attract large audiences, as do historical dramas and documentaries. At the same time, and aided by the development of ever faster forms of electronic visual communication, television news and current affairs increasingly broadcast history ‘as it happens’ – eroding the distance between an event and its mediation. On this unit we will explore how these new developments are re-shaping ideas about history, how it is made and who it is for.
This module is focused on production-based project work supported by lectures and seminars that explore the contexts, cultures and practices of interactive media production. It provides an overview of a number of theoretical debates about interactive media and enables students as practitioners to explore the issues, techniques and processes associated with generating material on a digital platform. These debates inform all stages of the generation, organisation, exhibition and critical review of material produced on the module. The production-based project allows students to develop work that builds on their previous practical experience. The module aims to encourage the production of innovative materials for the World Wide Web, CD-ROMs, DVDs, and reactive and immersive multimedia installations. Students are expected to produce an individual production-based project and a written submission on the lecture and seminar content of the module.
This unit investigates explanations for forced migration both within the ‘Third World’ and from ‘Rest to ‘West’. The unit examines questions of citizenship, nation and nationalism and their significance for migratory movements.
This unit investigates gendered aspects of armed conflicts and the ways they are articulated in public disprogramme. The main topics of study include: conceptual and methodological issues in studying the impact of armed conflict and political violence on gender relations and gender equality; gendered constructions of ‘the enemy’; gendered causes, costs and consequences of violence – involvement of women and men in violent conflicts and the military; gender-based violence and the politics of victimisation of women and men; gender, power and agency in conflict; gender, voice, reconciliation and peace-building.
The module aims to explore the meaning of ‘biographical aging’ across the life-span. The module explores the relationship between life course narratives, and social structure. The module explores the similarities and differences between life review and reminiscence, and examines the potential of the former to occur intermittently throughout the life course, functioning as a mechanism for reintegrating a new narrative self into a continuously evolving identity.
This unit critically examines the discipline of media studies and its relationship to broader culture and politics. By addressing the question ‘what is media studies’ it develops a conceptual map of the expanding but contested field of study and examines the increasing significance of media in metropolitan culture. Themes addressed include: modernity, media and culture industry; semiotics, ‘reality’ and the politics of representation; popular culture, broadcasting and the mediated public sphere; audiences, ethnography and everyday television culture; identity, youth and urban popular music; globalisation and the internet; digital media and critical practice.
This unit builds on students’ theory-practice skills and enable them to develop projects on representation and narrative to a high creative and technical standard. Work can be done in one or more of a range of forms including photography, video and multimedia. Assessed work includes a written analysis which shows evidence of a theoretical understanding of the relevant issues. Students must demonstrate an appropriate level of production competence in order to satisfy entry requirements for this unit.
This unit focuses on current changes in the global order, with particular reference to technological change, work organisation, and global hierarchies and inequalities. Topics covered include: post-Fordism and post-industrialism; the rise and partial eclipse of East Asia; global cities; global inequalities, marginality and uneven development.
This unit explores the place of the city in the modern world and engages with theoretical debates about modernity and postmodernity. It draws on represent-ations of the city in visual and literary texts and on the more direct experiences of living in the spaces of the city. The unit includes sessions on: cities and moral panic; the camera and surveillance; the modern metropolis as dystopia; city utopias; parks and public space – encounter and enclosure; difference and diversity; global cities; the cinematic city.
The aim of this module is to explore a range of applications of narrative research. The module will provide an overview of some of the key areas of contemporary narrative research application, including: Feminist approaches to narrative; literary and media texts; health/medicine; postcolonial narratives; Foucauldian models; secondary data analysis; counter-narratives; sexual narratives; political narratives.
This module provides students with an overview of the range of narrative research methodologies. Beginning with an exploration of the meaning of narrative, the module next outline Labovian methods, biographical methods and discourse-analytic methods. It then considers three key fields of narrative research: oral, personal narratives; written narratives (including autobiographies and letters); and visual narratives.
This module examines European cinema’s preoccupation with issues of otherness. It investigates the use and abuse of archetypes of the other and the stranger in early classical European cinema, especially in works associated with German Expressionism, which, according to Kracauer and Eisner, anticipated the emergence of Nazism. The module explores cultural and cinematic figures such as the robot, the Golem, the somnambulist, the vampire, and the homunculus which have epitomized European archetypes of the “stranger” and “the other” that were often associated with the threatening presence of the Jew, the Roma (Gypsy), and the Bolshevik as symbols of the menacing East. In addition the module explores the mutations of these archetypes of “strangers” and “others” in more recent European remakes. The module also investigates the representation of the postcolonial other of the “new Europe”; the sexual other which subverts traditional, essentialist perceptions of ethnic, class and sexual identity; and the other within the other (women in minority groups). The module also analyses cinematic forms of selfrepresentation produced by “authentic” members of minority groups in which the “problem of the other” is presented from within, from the point of view of the other himself/herself, negotiating whether and how to maintain his/her identity within a dominant culture.
The main aim of this module is to examine the relationship between the stories people tell about their lives, and the political framework which forms the context for those stories, otherwise conceptualised as the relationship between micro and macro political narratives. Do the tales people tell about their lives and the societies in which they live reflect an underlying construction of the political world and their place within it? Do these stories mirror and/or resist stories which are generally accessible in the society which in which an individual lives? How do speakers position themselves in relation to the political constructions which they articulate? How does the positioning of the researcher effect what s/he is able to hear, and how does this location get written into the research?
The main aim of the unit is to explore some of the theoretical, political and policy issues involved in contemporary constructions of identities, citizenships and belonging. These include: conceptual and methodological issues in theorizing identity, citizenship and belonging and their interrelationships; residence, Citizenship and belonging; multiculturalism, social pluralism and social cohesion; ‘self-determination’ and the politics of recognition; ‘glocalisation’ and the rise of fundamentalist movements; civil rights, human rights and cultural differences.
This unit introduces the main positions that have been developed to address the question of what the postcolonial might mean in terms of theoretical critique. This conceptual framework is mobilised and interrogated in relation to close analysis of a range of postcolonial and diasporic cultural and media forms, texts and events. Subjects addressed include: postcolonial critique of modernity and imperial cultural; race, science and visuality; gender, bodies and Asian cinema; globalisation and commodity culture, diaspora and urban music; visual art, sexuality and Frantz Fanon; multiculturalism and science-fiction; Eurocentrism and digital media.
This module deals with the complex history of the relationships between psychoanalytical theory and film theory. The module deals with Freudian and post-Freudian concepts and their use and application within film theory discourse. The main issues which will be dealt with are dreams and the unconscious, voyeurism and fetishism, the Oedipus complex, the gaze, female sexuality, motherdaughter relationship, and psychoanalytical aspects of mass movements. A variey of film genres, ranging from film noir and horror, to science fiction and the hybrid genres on late 20th century, will be examined, with close analysis of key films, through which we will examine the interplay between psychoanalytical abd cinematic theoretical discourse.
This module examines the multicultural and ethnic struggles which have become prominent topics in contemporary European cinema. It investigates issues related to the representation of refugees, migrants and ethno-diasporas in key European films which reflect, negotiate and construct a new image of the “old world”. Europe, as represented in these films, is no longer predominantly white and Christian, but a multi-cultural, multi-ethnic and multi-religious domain. Following the notion of transnational hybrid cinema the goal of the module is to go beyond the traditional boundaries of socalled “national cinema,” to provide a comprehensive analysis of the politics and ideology of the portrayal of refugees, migrants and ethno-diasporas in European cinema; as well as to explore the deep mythical and historical roots that have nurtured this representation. The module aims to present a complex and unique view of European society and its struggle to forge a new identity through its investigation of the projection and negotiation of European identity in some seminal European films, from the 1990s on, which constitute unique sites of struggle over European identity, and which further open and broaden the public space for debating this issue.
This module aims to enhance knowledge of research approaches and methodological principles and develop the conceptual and practical skills that are necessary in order to plan, research and produce a dissertation (with or without a production component). The module looks at the politics and ethics of research, qualitative research, oral history and ethnography, textual analysis, the use of archival and electronic sources, the theory/practice relationship and preproduction strategies. All methods are explored in relation to the theoretical frameworks of the contributing programmes. This module is taken by students from across the modular scheme.
This module provides students with the research methods and skills necessary for undertaking production-based dissertation work as part of their degree. It will be based on a series of seminars, lectures, technical workshops and tutorials that allow the student to develop a written and production-based first version of the dissertation submission. The module aims to encourage the production of innovative source materials, plans, conceptual and technical experimentation and research work which map the subject matter and the formal strategies to be employed. The module will also explore the methods involved in researching and developing critical media production. This will include the politics and ethics of research, examining media production through textual analysis, the use of archival and electronic sources and the relationship of discursive theoretical positions to production-based work. Students are expected to produce a practical research portfolio and a written submission in the form of a proposal informed by the content of the module.
This module provides an overview of the roles and impacts of science, technology and innovation in contemporary society and the complex dynamics of scientific, social and technological forces shaping innovation. The focus is on innovation processes in the developed world, particularly in the United Kingdom and the European Union, and how these forces interact with the global political economy and the developing world. A further aim is to understand how and why the costs and benefits of innovation are distributed unevenly in society, particularly from the standpoint of democracy, employment, economic and social justice, race/gender and environmental sustainability. The curriculum draws upon the sociology of scientific knowledge; information society theory; the economics of technical change; geography; political theory; policy evaluation; and other perspectives associated with innovation systems and processes.
Innovation in information and communication technologies has enabled the growth of a variety of network-based services and new media forms that are restructuring the ways in which we work, play and interact. But, just as it is the case that these technologies were not developed independently of social and economic influences, the ways in which they restructure our lives are not only the results of their technical configurations. This module aims to investigate the ways in which agencies and organisations at different levels attempt (and sometimes fail) to control networked services and media. Particular attention is paid to regulatory principles, theoretical analysis of the forces influencing regulatory outcomes and the ways in which regulatory actions are legitimated. Constraints are investigated, as this is an area characterised by rapid innovation, technological and market convergence and increasingly global delivery. The module aims to examine both market regulation and content regulation.
Unspeakable violence has marked much of recent history: slavery; the Holocaust; Vietnam. Recently there has emerged a range of films that in their different ways stage an encounter, a representation or a remembering of this violence. But what are the relationships between history, violence and the cinema? In this unit we will explore some of the key questions raised by the cinematic representation of violent pasts, including questions concerning trauma, representation and remembering.
This unit is divided into 4 sections: Section 1, ‘History and Representation’, introduces students to debates about history and representation in relation to broader questions concerning postmodernity, history and the crisis of representation more generally. Section 2, ‘Seeing is Believing’, is concerned with issues of witnessing, shock, and evidence. Section 3, ‘Memory and Representation’, looks at contemporary debates concerning the representation of memory and memory’s place in the establishment of ‘what happened’. Section 4, ‘History and the Public Sphere’, provides an overview of the diverse sites within which the past is screened – from television history programmes to documentaries, to autobiographical films – and asks what is at stake in these screenings.
The cinema has from its earliest days demonstrated a profound fascination with cities. From the London of 60’s British social realism to the LA of post-modern cinema and the Chicago of the contemporary musical, cities and cinema are inseparable. This unit will take this fascination as the starting point for a series of explorations — of the history of cities; of the cinematic representation of those histories and of the ‘feelings’ evoked by cities in film.
This unit investigates the construction and deconstruction of homosexualities, as well as drawing on recent attempts by feminists, queer theorists and others to question and denaturalise heterosexualities. The unit examines the ways that diverse and changing sexual identities are constructed through the production and consumption of narratives (social, literary, historical, visual). In this way, and with reference to a range of contemporary and historical case studies, the unit analyses the relationship between sexual identities, gender identities, communities and cultures. This situates texts, movements, and material cultures in their historical contexts and provides an opportunity to evaluate how sexual identities are produced and contested.
This module examines current interactive media software and software practices and develops students technical and analytical skills in relation to them. Software and practices covered include search engines, Macromedia Flash, computer viruses, Macintosh operating systems, open source, tactical media and hactivism. Interactive media software are understood as sophisticated technologies, as keenly marketed commercial products and as authored texts which inscribe particular working methods upon the user, therefore shaping forms of production, distribution and consumption. Students develop technical understanding and expertise with an interactive media application of their choice, alongside a critical appraisal of its operation. The module draws on concepts from science and technology studies, cultural studies, software-as-culture debates and the work of digital practitioners (for example, Mongrel Media, Ricardo Dominguez, Indymedia) to develop an understanding of software cultures.
This interdisciplinary unit explores contemporary debates relating to sound in cybernetic culture, drawing particularly from post-representational theories which centralise issues of rhythmic/numerical culture, the body and affect, technology and sensation, in the context of critical theories of diaspora, gender and digital capitalism, histories of electronic music and the sciences of complexity. Particular attention will be payed to issues surrounding: diasporic futurism, acoustic cyberspace, synesthesia, microsound, generative sound and noise.
This module explores how culture and subjectivity intersect. It deploys a range of social, cultural and psychoanalytic theories to understand this intersection in specific cases. Module topics will include: Subjectivity as cultural performance and masquerade; the ‘storied,’ linguistic nature of culture and subjectivity; the gendered and racialised nature of cultural subjectivities; media and other popular representations’ 'culturing' of subjectivity; culture, the emotions, and science- the argument between evolutionary psychology and socially oriented theories of culture; Multiple Personality Disorder; transgender; subjectivities on television and in electronic media; subjectivities in the visual arts; representations of people living with HIV and AIDS.
What are the key issues facing social enterprises once they are set up? How are the stakeholder tensions managed? What are the tasks, processes and options involved in the evolution of the enterprise? What resources are available to advise and support developing and established enterprises?
This unit explores the place of the city in the modern world and moves from representations of the city in different texts – film, photography, literature – to more direct experiences of living in the spaces of the city. The unit includes sessions on: cities and moral panic; the camera and surveillance; the modern metropolis as dystopia; city utopias; parks and public space – encounter and enclosure; difference and diversity; global cities; the cinematic city.
This unit explores the urban crime film and its geo-political implications. The unit asks: what can historical changes in ‘the cinematic body’ in this genre tell us about geo-politics and constructions of the nation? Approaches to this, and other relevant questions, are drawn from contemporary film theory and theories of the city, identity and race. The films under discussion come from a range of different national cinemas - including American and Hong Kong.
This unit aims to build on theoretical questions introduced during Semester A of each programme for which it is an option and to apply them critically to media workplaces, particularly those clustered in East London in close proximity to the UEL Docklands campus. Theoretical issues to be explored include: post-Fordism and globalisation; strategy and creativity in media industries; the impact of new technologies; changing social relations in the workplace, with particular emphasis on multiculturalism and feminisation; changing relations of production and consumption; production of meanings and consumer diversity; ethics, social responsibility and commercial culture; cultural production, social policy and urban regeneration.
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