Topics Handbook 11-12

8/14/2019 Topics Handbook 11-12

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Faculty of Creative Arts,Humanities and Education

Topics in Film HistoryUPCPRJ-30-1

Module Handbook 2011-2012

Module Leader Humberto Prez-BlancoOffice 3CK6Email address [email protected] hour
http://www.uwe.ac.uk/http://www.uwe.ac.uk/http://www.uwe.ac.uk/http://www.uwe.ac.uk/http://www.uwe.ac.uk/


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PLEASE NOTE: STUDENTS SHOULD REFER TO THE FACULTYSTUDENT HANDBOOK, FILM STUDIES AWARD HANDBOOK ANDUNIVERSITY STUDENT HANDBOOK FOR MORE GENERALINFORMATION

Contents

1. INTRODUCTION AND MODULE AIMS ............................................ 1

3. LEARNING OUTCOMES .................................................................. 1

4. MODULE CURRICULUM SUMMARY ................................................ 2

5. MODULE CURRICULUM: WEEK-BY-WEEK.. 3

5.1.SEMESTER ONE..................................................................................... 3

5.2.SEMESTER TWO.................................................................................... 8

6. ORGANISATION OF THE MODULE ............................................... 13

6.1.TEACHING AND LEARNING METHODS......................................................... 13

6.2.READING STRATEGIES........................................................................... 13

6.3.FACILITIES AND RESOURCES................................................................... 13

7. ASSESSMENT .............................................................................. 15

7.1.SUMMARY.......................................................................................... 15

7.2.ASSESSMENT COMPONENT DETAILS........................................................... 16

8. MODULE SPECIFICATION DOCUMENT ....................................... 20


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1.Introduction and Module AimsTopics in Film Historywill introduce you to the global historic development of film and helpyou think about questions of technology, audience, exhibition and industrial organisation. Itexplores how filmmaking can be understood as both part of and as a representation of wider

historical, artistic and social issues and developments. It will also help you gain, develop andpractice the key skills in reading, researching, discussion and writing necessary to yourdevelopment as undergraduates as well as offering you a strong foundation for your futurecritical and theoretical investigation of film.

Part Oneof the module begins by examining the development of film as a medium.We shall consider such topics as the origins of cinema, the emergence of the mainstreamshape of movie entertainmentin both the USA and Europe and the development ofsynchronised sound and colour

In Part Twowe will consider a range of national and international film movements,including German Expressionism, Soviet Montage, the British documentary movement in the30s, Italian Neo-realism, the French New Wave, surrealism and Dogme 95. We shall examine

the relationship these film movements had to the historic period and place in which theydeveloped and ask how and why did these specific types of filmmaking arise in theseparticular countries and times, as well as consider their continuing legacy and influence.

Part Threebuilds on this historical understanding of the international range offilmmaking to open up debates around the representation of history on film. We shall examinehow films can be seen as contributing to our understanding of history today, in terms of filmsability to document actual events, as a way to evoke a more general sense of the past, or asrepresentations that can never be more than a partial or biased version of history. To this endwe shall consider a selection of films which look at recent conflict(s) in the Gulf, the events ofSeptember 11th2001 and the subsequent War on Terror.

2.Learning OutcomesBy the end of the module, students will have developed an understanding of the generaloutline of the history of cinema globally, a detailed understanding of several specificconjunctures in film history, and an awareness of debates surrounding the cinematicrepresentation of history and historical moments. They should be able to demonstrate:1. an ability to relate critical analysis of specific films to the wider cultural and historical

circumstances of their production and initial consumption (assessed through ComponentA, Component B, Element 1);

2. knowledge of key phases in the development of cinema globally and of specific nationalcinemas (Component A, Component B, Element 1);

3. the ability to develop a small scale project on a specific film movement (Component B,Element 1);

4. knowledge of debates about the cinematic representations of history and period(Component B, Elements 1 and 2)

3.Organisation of the Module3.1. Teaching and Learning Methods

This module will be delivered through a programme of screenings, set reading, lectures, andseminars. In order to succeed in this module you must participate actively in all of these

elements. In addition to the set readings and screening there are also recommended furtherreadings and recommended further viewings that will help develop your knowledge of film


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history. While in the first instance you should concentrate on the set readings and screenings,these further recommendations will be of particular use when you are researching forassignments for both this and future modules.

3.2. Reading StrategiesYou must read the set reading in advance of the screening, lecture and seminar, andbring it with you to your seminar. Set readings are found in the Module Reader and are alsoavailable electronically via the relevant folder in Blackboard. Further readings can mostly belocated either as hard copies in the UWE library (but not necessarily at St. Matts library) or viathe elibrary. Some others will be made available electronically and accessible on the modulesblackboard website throughout the year.

In addition to the Module reader, the listed websites and the week by week furtherreadings as listed below, the following books are recommended as of use throughout theyear. All of them are available in the library:

David Bordwell and Kristin Thompson, Film History: An Introduction2nd edition (Boston:McGraw Hill, 2003)Leo Braudy and Marshall Cohen (eds), Film Theory and Criticism, 6th Edition (Oxford: OUP,

2004)Paul Grainge (ed.) Memory and Popular Film(Manchester: MUP, 2003)Geoffrey Nowell-Smith, (ed.), The Oxford History of World Cinema(Oxford: OUP, 1996).Robert Stam, Film Theory: An Introduction(Oxford: Blackwell, 2000)Robert Stam and Toby Miller (eds) Film and Theory: An Anthology(Oxford: Blackwell, 2000)

The following also have some useful sections:David Bordwell and Kristin Thompson, Film Art: An Introduction7th Edition (Boston: McGraw

Hill, 2004)Susan Hayward, Cinema Studies:The Key Concepts2nd Edition (London: Routledge, 2000)John Hill and Pamela Church Gibson (eds) The Oxford Guide to Film Studies (Oxford: OUP,

1998)Pam Cook (ed.), The Cinema Book2nd edition (London: BFI, 1999)

Also, all of the following can be recommended as trustworthy and worth investigating: BFI. The web site of the British Film Institute offering a wealth of useful and accurate

information on a wide range of films. While the focus is on British Cinema and much ofthe information is a little basic, it can be a good starting point and they also offerinformation and links on a wide range of films. Available at www.bfi.org

Bright Lights Film Journal. A popular-academic hybrid journal of film analysis, historyand commentary. Can be a bit over excited but often interesting. Available atwww.brightlightsfilm.com

The Internet Movie Database. Lists almost every film ever made, giving cast and crewcredits, details about box-office business and production companies involved, publicitymaterials and some additional links. Available atwww.imdb.co.uk

Scope. The online journal of the Institute of Film Studies based at NottinghamUniversity. Available at http://www.scope.nottingham.ac.uk/

ScreenSite. Academic database, giving links to additional resources (listed underheadings, such as Research). Available atwww.screensite.org

Senses of Cinema. An online journal that tends to focus on art, independent andexperimental cinema. Available atwww.sensesofcinema.com
http://www.brightlightsfilm.com/http://www.brightlightsfilm.com/http://www.imdb.co.uk/http://www.screensite.org/http://www.screensite.org/http://www.screensite.org/http://www.sensesofcinema.com/http://www.sensesofcinema.com/http://www.sensesofcinema.com/http://www.sensesofcinema.com/http://www.screensite.org/http://www.imdb.co.uk/http://www.brightlightsfilm.com/


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There are also some excellent specific on-line film history sources. See The History of the Discovery of Cinematographyhttp://www.precinemahistory.net/

Early Cinema Gatewayhttp://www.charlesurban.com/gateway.htm

Silent Film Sourceshttp://www.cinemaweb.com/silentfilm/

3.3. Facilities and Resources

LibraryYou are expected to use the full potential of the UWE library system. As a multi-campusinstitution, resources are scattered. Books, periodicals, videos and DVDs may be housed on adifferent site to St Matthias. So be prepared, especially when working on assignments, to usethe inter-site loan system or travel to the other sites to obtain relevant material. St Matthias

Library has a good collection of books, articles and movies relevant to this module. Additionalholdings at Bower Ashton and Frenchay campuses can be transferred via intercampus loans.Further information on the library and its services is available online:http://www.uwe.ac.uk/library/

Audio visual resourcesIt is a minimum requirement that you attend screenings, but you should also expand yourknowledge of cinema by exploring the Librarys holdings. Video and DVD players are availablein the library; you will need to borrow a set of headphones from the issue desk in order to usethe equipment. There is also a group viewing room available where groups of up to twelvestudents can watch videos and DVDs.
http://www.precinemahistory.net/http://www.precinemahistory.net/http://www.precinemahistory.net/http://www.charlesurban.com/gateway.htmhttp://www.charlesurban.com/gateway.htmhttp://www.charlesurban.com/gateway.htmhttp://www.cinemaweb.com/silentfilm/http://www.cinemaweb.com/silentfilm/http://www.cinemaweb.com/silentfilm/http://www.uwe.ac.uk/library/http://www.uwe.ac.uk/library/http://www.uwe.ac.uk/library/http://www.cinemaweb.com/silentfilm/http://www.charlesurban.com/gateway.htmhttp://www.precinemahistory.net/


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Module Curriculum: Summary

SEMESTER ONEWeek Lecture Screening1 PART ONE: TECHNOLOGY AND

PRODUCTIONEarly Cinema

Paul Merton's Weird and Wonderful World

of Early CinemaandThe Lost World of Mitchell and Kenyon(extract)

2 Slapstick and Shock City Lights (Charles Chaplin, US, 1931)3 Hollywood in the 20s: stories, stars and

studiosSunrise (F.W. Murnau, US, 1927)

4 The Coming of Synchronised Sound M(Fritz Lang, Germany, 1931)5 Europe in the 30s Quai des Brumes/Port of Shadows

(Marcel Carn, France, 1938)6 No lecture. Mock Exam exercise

and tutorial week

No screening

7 Hollywood and the Second World War To Have and Have Not (Howard Hawks,USA, 1944)

8 Living Colour A Matter of Life and Death(UK, 1946) orDouglas Sirk if not used in Film Cultures

9 PART TWO: MOVEMENTS,MOMENTS AND MANIFESTOSGerman Expressionism

The Cabinet of Dr. Caligari(RobertWiene, Germany, 1920)

10 Soviet Montage Strike (Serguei Eisenstein, USSR, 1925)11 British documentary in the 30s: Various12 Italian Neo-realism Umberto D (Vittorio de Sica, Italy, 1952)

CHRISTMAS BREAK

ASSESSMENT COMPONENT A, EXAM: JANUARY 2012DATE TO BE CONFIRMED

SEMESTER TWOWeek Lecture Screening13 French New Wave Les 400 Coups/400 Blows(Francois

Truffaut, France, 1959)14 Direct Cinema and Cinema Vrit High School (Frederick Wiseman, USA,

1969)15 Third Cinema Memories of Underdevelopment(Toms

Gutirrez Alea, Cuba, 1968)16 Surrealism and Cinema The Discreet Charm of the Bourgeoisie(Luis Buuel, France, 1972)

17 Dogme 95 The Idiots(Lars Von Trier, Denmark,1998)

18 No lecture. Portfolio preparationTutorials

No screening

ASSESSMENT COMPONENT B, ELEMENT 1: PORTFOLIO DUE THURSDAY 23/02/12


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19 PART THREE: HISTORY AND FILMTrue Lies: Narrative and Documentary1

Farenheit 9/11(Michael Moore, USA, 2004)

20 True Stories: Narrative and Documentary2

Battle for Haditha(Nick Broomfield, UK,2008)

21 Victims, Survivors and Consequences Stray Dogs (Marzieh Meshkini, Iran, 2004)22 Hollywood Fights Back The Hurt Locker (Kathryn Bigelow,US,2008)

23 Other voices 11'09''01 (various, 2002)24 Module recap Lecture. Essay preparation

tutorialsNo screening

ASSESSMENT COMPONENT B, ELEMENT 2: ESSAY DUE TUESDAY 01/05/12

4.Module Curriculum: Week-by-Week4.1 SEMESTER ONE

Part One: Technology and Production

Week 1. Early cinema Week commencing 26/9/11

Screening: Paul Merton's Weird and Wonderful World of Early Cinema (Paul Merton, BBC,2010) and Electric Edwardians : The Films of Mitchell & Kenyon (BFI, 2005 )extract

Reading: Chanan, Michael (1990)Economic Conditions of Early Cinema in ThomasElsaesser, (ed.), Early Cinema: Space, Frame, Narrative. London: BFI, 174-189.

Seminar: Introduction to seminar program. Thinking historically about film: Technology,Audience, Industry and moving pictures

Further Reading:Chanan, Michael (1996) The Dream that Kicks. The Prehistory and EarlyYears of Cinema in Britain(2ndedition). London: Routledge

Gunning, Tom (2004)An Aesthetic of Astonishment: Early Film and the (In)credulousSpectator in Leo Braudy and Marshall Cohen (eds), Film Theory and Criticism, 6thEdition. Oxford: OUP, 862-876.

Stam, Robert (2000)The antecedents of film theory, Film and Film Theory: The beginnings,Early Silent Film Theory in Robert Stam, Film Theory: An Introduction. Oxford:Blackwell, 10-32.

Toulmin, Vanessa (2004) The Lost World of Mitchell and Kenyon : Edwardian Britain on Film.London: BFI

Toulmin, Vanessa (2006) Electric Edwardians : The Story of the Mitchell & Kenyon Collection.London: BFI

There are also some excellent on-line histories and sources for early cinema. See TheComplete History of the Discovery of Cinematographyhttp://www.yesic. com/-fool/, EarlyCinema Gatewayhttp://wesite.lineone.net/- lukemckeman/Links.htm and Silent Film Sourceshttp://www.cinemaweb.com/silentfilmFurther Viewing: The BBC produced a three part series directed by Dan Cruickshank calledThe Lost World of Mitchell and Kenyon. It contains many of the films included in the BFIsDVD plus interviews and commentaries. An excellent collection of early films can be found inEarly Cinema: Primitives and Pioneers(two volumes) available from St. Matts library
http://www.imdb.com/name/nm0000941/http://www.cinemaweb.com/silentfilmhttp://www.cinemaweb.com/silentfilmhttp://www.cinemaweb.com/silentfilmhttp://www.imdb.com/name/nm0000941/


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Also, there are a number of downloadable early films available from sites like Youtube orVimeo where you can find almost all of the films mentioned in Paul Mertons programme. Fora more specialist site seehttp://chnm.gmu.edu/courses/magic/movies/movieindex.htm.Also,Any films made before around 1914 would be appropriate.

Week 2. Slapstick and Shock Week commencing 3/10/11

Screening: City Lights (Charles Chaplin, 1931, US)Reading: Singer, Ben (1995)Modernity, Hyperstimulus, and the Rise of Popular

Sensationalism, in Leo Charney and Vanessa R. Schwartz, (eds.), Cinema and theInvention of Modern Life. Berkeley: Univ of California Press, 72-99

Seminar: Comedy, shock, and modern lifeFurther Reading: Bazin, Andr [1948] (1967) Charlie Chaplin in What is Cinema? Vol.I.

Berkeley, Los Angeles, London: University of California Press, 144-154Elsaesser, Thomas,ed. (1990), Early Cinema: Space, Frame, Narrative. London: BFIHodsdon, Barrett (1996)Reframing Early Cinema, in The Dawn of Cinema: 1894-1915.

Sydney: Museum of Contemporary ArtKing, Rob (2007)Uproarious Inventions: The Keystone Film Company, Modernity and the

Art of the Motor, Film History19, 271-291Further Viewing: Any films by Buster Keaton, Charlie Chaplin, Harold Lloyd, Fatty Arbuckle,the Keystone cops series, early Laurel and Hardy silent films, and lots more up to the late1920s. A number of them are available in the library but many of them are also availableonline through Youtube and other similar sites.

Week 3. Hollywood in the 20s: Week commencing 10/10/11stories, stars and studios

Screening: Sunrise (F.W. Murnau, 1927, USA)Reading: Nowell-Smith, Geoffrey (1997)The Heyday of the Silents in Nowell-Smith, ed.,

The Oxford History of World Cinema. Oxford: OUP, 192-204Seminar: Organising production and consumptionFurther Reading: Bordwell, David and Kristin Thompson (1994) Film History: An

Introduction. New York: McGraw-Hill, 52-82 and 156-182Bordwell, David, Janet Staiger and Kristin Thompson (1985) The Classical Hollywood Cinema:

Film Style and Mode of Production to 1960(London: Routledge) 85-240Butler, Jeremy G. (1998)The Star System and Hollywood in John Hill and Pamela Church

Gibson, eds, The Oxford Guide to Film Studies. Oxford: OUP, 342-353Cook, David A (2004)Hollywood in the Twenties,A History of Narrative Film, fourth edition.

New York: WW Norton, 169-204

Gomery, Douglas (1998)Hollywood as Industry in John Hill and Pamela Church Gibson, eds,The Oxford Guide to Film Studies. Oxford: OUP, 245-254

Grainge, Paul, Mark Jancovich and Sharon Monteith, eds (2007) Film Histories: AnIntroduction and Reader. Edinburgh: Edinburgh University Press 67-119

Further Viewing: Traffic in Souls(George Loane Tucker, 1913,USA) is a good example ofan earlier style of popular narrative film. To appreciate the cristalization of the move to theHollywood classic narrative form see the films of D.W. Griffith like Birth of a Nation (D.W.Griffith, 1915, USA); Intolerance (D.W.Griffith, 1916, USA); in relation to the establishment ofthe star system you could study the figure of Rudolph Valention in films like: The Sheik(George Melford, 1921, USA); The Son of the Sheik(George Fitzmaurice, 1926, USA);Blood and Sand(Fred Niblo, 1922, USA). Other important stars of the silent period whose

films will be very interesting to study are Greta Garbo, Mary Pickford, John Gilbert or Douglas
http://chnm.gmu.edu/courses/magic/movies/movieindex.htmhttp://chnm.gmu.edu/courses/magic/movies/movieindex.htmhttp://chnm.gmu.edu/courses/magic/movies/movieindex.htmhttp://chnm.gmu.edu/courses/magic/movies/movieindex.htm


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Fairbanks. Other great films of the slient period coming from Hollywood, among many others,are: The Crowd (King Vidor, 1928, USA) or Greed (Erich Von Stroheim, 1924, USA)

Week 4. Talking (and Whistling) Pictures: Week commencing 17/10/11The Coming of Synchronised Sound

Screening: M(Fritz Lang, Germany 1931)Reading: Bordwell, David and Kristin Thompson (2003), The Introduction of Sound in Film

History: An Introduction: London: McGraw Hil, 193-204.Seminar: Listening to film: Sound, speech, music, noise andvisionFurther Reading: S. Eisenstein, V. Pudovkin, and G. Alexandrov, Statement on Sound in

Leo Braudy and Marshall Cohen,eds, (2004) Film Theory and Criticism, 6th Edition.Oxford: OUP, 360-362

Karel Dibbets, The Introduction of Sound, in Geoffrey Nowell-Smith, (ed.), The OxfordHistory of World Cinema(Oxford: OUP, 1996), 211-219.

C. Metz, Aural Objects in Leo Braudy and Marshall Cohen (eds), Film Theory and Criticism,6th Edition (Oxford: OUP, 2004), 356-359

M.A. Doane, The Voice in the Cinema: The Articulation of Body and Space in Leo Braudy andMarshall Cohen (eds), Film Theory and Criticism, 6th Edition (Oxford: OUP, 2004),363-375

Philip Drake, Mortgage to Music: New Retro Movies in the 1990s Hollywood Cinema, in PaulGrainge (ed.) Memory and Popular Film(Manchester: MUP, 2003), 183-201

Stam, Robert (2000)The Debate After Sound, in Robert Stam, Film Theory: An Introduction.Oxford: Blackwell, 58-64.

Further Viewing: For other interesting early uses of sound see Blackmail(Alfred HitchcockUK1929), Dracula(Tod Browning USA 1931), Sous Les Tois de Paris/Under the Roofs of Paris(Ren Clair, France, 1930)the first (partially) sound film made in France; Le Million(RenClair France, 1931); nous la libert(Ren Clair France 1931); for more contemporaryexamples, watch any of the films of Jacques Tati, a French director notable for the use ofsound for comic effect in films virtually without dialogue like Mon Oncle/My Uncle (JacquesTati, 1958, France) and particularly in his masterpiece Play Time (Jacques Tati, 1967, France).

Week 5. France in the 30s Week commencing 24/10/12

Screening: Quai des Brumes/Port of Shadows (Marcel Carn, France, 1938)Reading: Wagner, Jamie Marie (2010)Quai des brumes: An American Appealin Film

Matters,Vol 1; Issue: 1; Spring 2010,14 -19 and Vincendeau, Ginette (1996) ThePopular Art of French Cinema in Geoffrey Nowell-Smith, (ed.), The Oxford History ofWorld Cinema. Oxford: OUP, 344-353.

Seminar: Romance, love and realismFurther Reading: Driskell, Jonathan (2008)The Female Metaphysical Body in Poetic RealistFilm in Studies in French CinemaVol. 8, Issue 1; 57 - 73McCann, Ben (2011) Marcel Carn in Senses of Cinema available online at

http://www.sensesofcinema.com/2011/great-directors/marcel-carne/McCann, Ben (2004) A Discreet Character? Action Spaces and Architectural Specificity in

French Poetic Realist Cinema inScreen) Vol.45, No.4: 375-382Turk, Edward Baron (1989)Child of Paradise : Marcel Carn and the Golden Age of French

Cinema. Cambridge, Mass. and London : Harvard University Press.Further Viewing:Hotel du Nord (Marcel Carn, France, 1938), Le Jour Se Leve/Daybreak(Marcel Carn, France, 1939), Les Enfants du Paradis/Children of Paradise (Marcel Carn,

France, 1945),La Belle quipe/They Were Five (Julien Duvivier, France, 1936), Pp Le Moko


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(Julien Duvivier, France, 1937), la Bete Humaine (Jean Renoir, France, 1938), La GrandeIllusion (Jean Renoir, France, 1937)

Week 6. No lecture: Week commencing 31/10/11Mock exam exercise

Screening: No screeningReading: No readingSeminar:Use this week to catch up with readings and watching films. I will be available for

tutorials by appointment only to discuss the mock exam exercise or any other issuesyou want to discuss after your first six weeks at university.

Week 7. Hollywood in the 40s Week commencing 7/11/11Cinema and the Second World War

Screening: To Have and Have Not (Howard Hawks, US, 1944)Reading:Seminar:Further Reading:Further Viewing:

Week 8. Living Color Week commencing 14/11/11Screening:A Matter of Live and Death (Michael Powell and Emeric Pressburger, 1946, UK)Reading: Neale, Steve (2002)Colour and Film Aesthetics in Graeme Turner (ed.) The Film

Cultures Reader. London: Routledge, 85-94.Seminar: The meaning of color and the relation of color to realismFurther Reading: Belton, John (1996)Technology and Innovation: Colour in Geoffrey

Nowell-Smith, (ed.), The Oxford History of World Cinema. Oxford: OUP, 260-263.Dalle Vacche, Angela and Brian Price (2006) Color, the film reader.New York and London:

RoutledgeGrainge, Paul (2003)Colouring the Past: Pleasantvilleand the Textuality of Media Memory, in

Paul Grainge (ed.) Memory and Popular Film. Manchester: MUP, 202-219.Leslie, Esther (2002)Techne-colour in HollywoodFlatlands: Animation, Critical Theory and

the avant-garde. London: Verso, 251-288Further Viewing: The most famous film to mix monochrome and colour is of course, TheWizardof Oz(Victor Fleming, 1939, USA). A surprising use of a scene in color within a blackand white filmthus, adding an extra meaning to the sequence and the filmis The Women(George Cukor, 1939, USA). A more recent example is Pleasantville (Gary Ross, 1998, USA).

In its early years colour was seen very much as a novelty but probably the most successfulearly use of colour was by Walt Disney. Between 1932 - 1935 he enjoyed exclusive rights touse Technicolor in his animated short films. One of the most dramatic early uses of colour inlive action cinema is still Gone With the Wind(Victor Fleming, 1939, USA). The directorDouglas Sirk is also famous for his expressionistic use of colour, see for example MagnificentObsession(Douglas Sirk, 1954, USA); Written in the Wind (Dougrals Sirk, 1956, USA) andAllthat Heaven Allows(Douglas Sirk, 1959, USA). Another director famous for his expressionisticuse of color is Vincente Minelli in films like Some Came Running (Vincente Minelli, 1958, USA)and in many of his musicals. Nowadays, the digital manipulation of colour is becoming farmore common, see for example,Amelie(Jean-Pierre Jeunet, 2001, France/Germany) and SinCity (Frank Miller and Roberto Rodriguez, 2005, USA).

Part Two: Movements, Moments and Manifestos


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Week 9. German Expressionism Week commencing 21/11/11Screening:Das Kabinet des Dr Caligari/The Cabinet of Dr. Caligari(Robert Wiene, 1919,

Germany)

Reading: Roberts, Ian (2008)Authority Overblown, or, Lunatics in the Asylum: RobertWeines Das Cabinet des Dr Caligari, in German Expressionist Cinema: The World ofLight and Shadow. London: Wallflower, 23-34.

Seminar: Subjective, irrational and psychologicalrealismHand in mock examFurther Reading: Bordwell, David and Kristin Thompson (2003) Genre and Styles of

German Postwar Cinema Film History: An Introduction. London: McGraw Hill, 102-118.

Elsaesser, Thomas (1996)Germany: The Weimar Years in Geoffrey Nowell-Smith, (ed.), TheOxford History of World Cinema. Oxford: OUP, 136-151.

Eisner, Lotte H. (1973) The Haunted Screen: Expressionism in the German Cinema and theInfluence of Max Reinhardt. London: Secker & Warburg

Kracauer, Siegfried The Cabinet of Dr. Caligari in Leo Braudy and Marshall Cohen, eds (2004)Film Theory and Criticism, 6th Edition. Oxford: OUP, 183-194.Further Viewing: Der Golem/The Golem(Paul Wegener Germany 1920), Nosferatu(F.W.Murnau Germany 1922), Dr Mabuse, der Spieler/Dr Mabuse, the Gambler(Fritz LangGermany 1922), Der Letzte Mann/The Last Laugh(F.W. Murnau Germany 1924), Faust (F.W.Murnau Germany 1926), Sunrise: A Song of Two Humans(F.W. Murnau USA 1927),Asphalt(Joe May Germany 1929)

Week 10. Soviet Montage Week commenicing 28/11/11

Screening: Stachka/Strike (Sergei Eisenstein USSR 1925)

Reading: Robert Stam The Soviet Montage-Theorists inFilm Theory: An Introduction(Oxford: Blackwell, 2000), 37-47.Seminar: Montage, politics and film form.Further Reading: Pudovkin,V. On Editing, and Sergei Eisenstein, The Cinematographic

Principle and the Ideogram, in Leo Braudy and Marshall Cohen, eds (2004) FilmTheory and Criticism, 6th Edition. Oxford: OUP, 9-14

Eisenstein, S. The Dramaturgy of Film Form and Dickens, Griffith and Ourselves in LeoBraudy and Marshall Cohen, eds (2004) Film Theory and Criticism, 6th Edition. Oxford:OUP, 15-24 and 426-435.

Further Viewing: Bronyenosyets Potyomkin/Battleship Potemkin(Sergei Eisenstein USSR1925), Oktyabr/October(Sergei Eisenstein USSR 1928), Konyets Sankt-Peterburga/TheEndof St Petersburg (Vsevolod Pudovkin USSR 1926), Mat/MotherVsevolod Pudovkin, USSR,1926); Chelovek s kino-apparatom/Man with a Movie Camera (Dziga Vertov USSR 1929)

Week 11. British documentary in the 30s: Week commencing 5/12/11Grierson and the GPO unit

Screening:Reading:Seminar:Further Reading:FurtherViewing: St. Matts library holds an excellent collection of some key GPO unit filmsin a double DVD released by the BFI entitledAddressing the nation : the GPO film unit

collection, vol I.Another excellent collection of films is included in another BFI releases:


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Britain in the Thirties and Britain in the Forties. Both contain some excellent examples ofBritish documentary filmmaking during both decades and not all from the GPO unit.

Week 12. Italian Neo-realism Week commencing 12/12/11

Screening: Umberto D (Vittorio de Sica, 1952, Italy)Reading: Bazin, Andre [1952] (1972)Umberto D: A Great Work in What is Cinema VolumeII. London: University of California Press, 79-83 and Cook, Pam ed, (1985)Italy andNeo-Realism in The Cinema Book. London: BFI, 36-39.

Seminar: Social responsibility and social realismFurther Reading:Bazin, Andre [1951] (1972)De Sica: Metteur en Scenein What is Cinema

Volume II. London: University of California Press, 61-79.Marcus, Millicent (1986) Introduction inItalian Film in the Light of Neorealism. Princeton:

Princeton University Press, 3-30.Marcus, Millicent (1986)De Sicas Bicycle Thief: Casting Shadows on the Visionary City, in

Italian Film in the Light of Neorealism. Princeton: Princeton University Press, 54-75.Monticelli, Simona (1998)Italian Post-War Cinema and Neo-Realism in JohnHill and Pamela

Church Gibson, eds The Oxford Guide to Film Studies. Oxford: OUP, 455-460.Morandini, Morando (1998)Italy from Fascism to Neo-Realism, in Geoffrey Nowell-Smith

(ed.) Oxford History of World Cinema. Oxford, OUP, 353-360.

Further Viewing: Ladri di Bicliclette/Bycicle Thieves (Vittorio de Sica, 1948, Italy),Sciuscia/Shoeshine (Vittorio de Sica, 1946, Italy), Miracolo a Milano/Miracle in Milan (Vittoriode Sica, 1951, Italy)Roma Citta Aperta/Rome Open City(Roberto Rossellini Italy 1945), Pais(Roberto Rossellini, 1946 Italy), Germania anno zero/Germany Year Zero (Roberto Rossellini,1948, Italy), Stromboli(Roberto Rossellini Italy1948) Ossessione (Luchino Visconti, 1943,Italy),La Terra Trema/The Earth Shakes(Luchino Visconti, Italy, 1948), Riso amaro/BitterRice (Giuseppe de Santis, 1949, Italy),

Christmas BreakAssessment Component A, Exam: January 2012 - exact date to be confirmed

5.2 SEMESTER TWO

Part Two: Continued

Week 13. La Nouvelle Vague Week commencing 16/01/12

(French New Wave)

Screening: Les Quatre Cent Coups/The 400 Blows(Franois Truffaut, France 1959),Reading: Hillier, Jim, ed (1985) Introduction in Cahiers du Cinma, The 1950s: Neorealism,

Hollywood, The New Wave. London: BFI, 1-17Seminar: Cahiers du Cinmaand the nouvelle vagueFurther reading:Bordwell, David and Kristin Thompson (2003)New Waves and Young

Cinema, 1958-1967 in Film History: An Introduction. Boston: McGraw Hill, 439-450.David Bordwell, Art Cinema as a Mode of Film Practice inFilm Criticism. Vol.4. No 1. Fall,

1979.Comonos, John (2000) Truffauts The 400 Blows, or the Sea, Antoine, the Sean in Senses

of Cinema, Issue 6, May 2000 available online at:http://www.sensesofcinema.com/2000/6/francois-truffaut/blows/


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Graham, Peter (1996), New Directions in French Cinema in Geoffrey Nowell-Smith, ed. TheOxford History of World Cinema. Oxford: OUP, 576- 582.

Mills, Jane (2009) The French New Wave, in Loving and Hating Hollywood. Sydney: Allen &Unwin)

Wollen, Peter (2004) The Auteur Theory in Leo Braudy andMarshall Cohen, eds, Film

Theory and Criticism, 6th Edition. Oxford: OUP, 565-580.Further viewing: Jules et Jim (Franois Truffaut, 1962, France), Tirez sur le Pianiste/Shootthe Piano Player (Franois Truffaut, 1960, France), Breathless/A bout de souffle(Jean-LucGodard, France 1960),ALes Bonne Femmes/The Good Girls(Claude Chabrol, France 1960),LAnn Dernire Marienbad/Last Year at Marienbad(Alain Resnais, France 1961), Clo de 5 7/Cleo from 5 to 7(Agns Varda, France 1962),Alphaville(Jean-Luc Godard, France/Italy1965).

Week 14. Cinma Vrit Week commencing 23/01/12and DirectCinema

Screening: High School(Fred Wiseman, USA, 1969)Reading: Nichols, Bill (2001)What Types of Documentary Are There? in Introduction to

Documentary. Bloomington: Indiana Univ Press, 99-131.Seminar: Rethinking the truthFurther Reading: Brink, Joram Ten (2007) Building Bridges : the Cinema of Jean Rouch.

London: WallflowerBruzzi, Stella (2000) New Documentary: A Critical Introduction. London: RoutledgeChanan, Michael (2007) The Politics of Documentary. London: BFIGrant, Barry and J. Slonioski, eds (1998) Documenting the Documentary.Detroit: Wayne

State Univ PressGrant, Barry (1992) Voyages of Discovery: The Cinema of Frederick Wiseman. Urbana: TheUniv of Illinois PressMusser, Charles (2006)Cinma Vritand the New Documentary in Geoffrey Nowell-Smith

(ed.) Oxford History of World Cinema. Oxford, 527-537Nichols, Bill (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture.

Bloomington: Indiana Univ PressSaunders, Dave (2007) Direct Cinema: Observational Documentary and the Politics of the

1960s. London: WallflowerVaughan, Dai (1999) For Documentary. Berkeley: Univ of California PressFurther Viewing: Most films by Wiseman are near impossible to get perhaps with theexception of Titicut Follies (Frederick Wiseman, 1967, USA) and High School II (FrederickWiseman, 1994, USA). For examples of Cinma Vrit, see the films of Jean Rouch. Again, forthe most part they are difficult to get but online you may be able to find with subtitles LesMaitres Fous/The Mad Masters (Jean Rouch, 1955, France), Moi, Un Noir/I, A Black (Jean

Rouch, 1958, France). St. Matts library does have a copy of Rouchs masterpiece CroniqueDun t/Chronicle of a Summer (Jean Rouch, 1961, France). Direct cinema is much moreaccessible. See for example Primary (Robert Drew, 1960, USA). Dont Look Back(D. A.Pennebaker, 1967, USA) follows Bob Dylans first British tour and it is a must for his fans.Gimme Shelter (Mayles Brothers, 1970, USA) is another famous documentary on the RollingStones and a murder that took place during one of his concerts. Finally, Barbara KopplesHarlan County (USA, 1976) is another brilliant example. If interested, contact the moduleleader if you cannot get hold of some of these films. I do have copies of most of them andmany more.

Week 15. Third Cinema Week commencing 30/01/12


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Screening: Memorias del subdesarollo/Memories of Underdevelopment (Tomas GutierrezAlea, Cuba 1968)

Reading: Chanan, Michael (2004) Cuban Cinema. Minneapolis: Univ of Minnesota Press, 288-304

Seminar: Cinema and Revolution

Further Reading: Burton-Carvajal, Julianne (1985)Marginal Cinemas and MainstreamCritical Theory in Screen, Vol. 26, Nos. 3-4Chanan, Michael (1983)Introduction to Twenty-Five Years of the New Latin American

Cinema, BFI Dossier 2-8;Chanan, Michael (1977)The Changing Geography of Third Cinema inScreen, 38.4, 1997Chanan, Michael (1996) Cinema in Latin America in Geoffrey Nowell-Smith (ed.), The Oxford

History of World Cinema. Oxford: OUP, 427-435.Martin, Michael T. (1997) New Cinema of Latin America (vol. I): Theory, Practices and

Transcontinental Articulations. Detroit: Wayne University Press. The first volumecontains an excellent introduction to the topic and an excellent collection of almost allthe third cinema manifestos written in the 60s and 70s.

Pick, Zuzana M. (1993) The New Latin American Cinema : a Continental Project.Austin:University of Texas Press

Wayne, Mike (2001)Third Cinema as Critical Practice: A Case Study of The BattleofAlgiers,in Political Film: The Dialectics of Third Cinema.London: Pluto Press, 5-24.

Further Viewing: Please beware that Thid Cinema has nothing to do with geography: not allLatin American films are Third Cinema. Because of its very anti-commercial nature, it is verydifficult to see old Thrid cinema films since most releases do not have English subtitles.Among the very few you can find are: La Battaglia di Algeri/The Battle of Algiers(GilloPontecorvo, Italy/Algeria 1965)available on DVD at UWE. Onlinevia Youtube or vimeo orsimilar sites you can find with subtitles the complete first part La Hora de Los Hornos/Hour ofthe Furnaces (Fernando Solanas and Octavio Getino, 1968, Argentina) and the first part ofPatricio Guzmns La Batalla de Chile/Battle of Chile (1975, Cuba/France). You are stronglyrecommended to watch both since even if you do not agree with the ideological content ofthe films, they are two brilliant examples of documentary techniques. Other examples of ThirdCinema films include The Harder They Come(Henzell, Jamaica 1973). Easier to get areEuropean and US examples of third cinema like: Tout va bien(Godard/Gorin, 1972,Italy/France), Coup Par Coup(Marin Karmitz, 1973, France), Sweet Sweetbacks BaadasssssSong(Mario Van Peebles, 1971, US). An extraordinary antecedent for Third Cinema is TheSalt of the Earth (Herbert J. Biberman, 1954, USA). See also any of the films directed by theBritish director Peter Warkins.

Week 16. Surrealism and cinema Week commencing 06/02/12

Screening: Belle de Jour(Luis Buuel,France/Italy 1967)Reading: Mills, Jane (2009)Avant-garde Cinemain Loving and Hating Hollywood. Sydney:

Allen & Unwin, extract, 84-89Seminar: Rethinking the truthFurther Reading: Bordwell, David and Kristin Thompson (1993) Non-narrative Formal

Systems in Film Art: An Introduction. Boston: McGraw Hill, 102-143Drummond, Phil (1994)Surrealism and Un Chien Andalou in Un Chien Andalou. London:

Faber and Faber, v-xxiii.Edwards, Gwynne (1982) Belle de Jour in The Discreet Charme of Luis Buuel. A Reading of

His Films. London and Boston: Marion BoyarsEvans, Peter William (1994)Phantom Projectionin Tate: The Art Magazine, Issue 26,

Autumn 2001, 32-33


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Hughes, Robert (1980) The Threshold of Liberty in The Shock of the New : Art and theCentury of Change. London: Thames and Hudson, 212-268

Martin, Adrian (1993)The Artificial Night: Surrealismand Cinema, in Michael Lloyd, ed.,Surrealism: Revolution by Night. Canberra: National Gallery of Australia

Rees, A.L. (1996). Avant-Garde Film: The Second Wave in G. Nowell-Smith, ed., The Oxford

History of World Cinema. Oxford: Oxford Univ PressSabaddini, Andrea (2003) Of Objects, Peepholes and Other Perverse Objects. A PsychoanlitycLook at Luis Buuels Belle de Jourin Peter William Evans and Isabel Santaolalla, eds.,Luis Buuel. Key Readings. London: BFI. The article draws heavily on Freudiantheories and you may find it difficult if you are not familiar with themdespite theexcellent explanations provided. If you struggle, just ask for help. The whole of Evansand Santaolallas book is a highly interesting account of many of Buuels films andmain themes in his films.

Vigo, Jean. (1994)Foreword in Un Chien Andalou.London: Faber and Faber, xxv-xxviWilliams, Linda (1981)The Prologue to Un Chien Andalou: A Surrealist Metaphor in Figures

of Desire: A Theory and Analysis of Surrealist Film. Berkeley: University of CaliforniaPress

Further Viewing: During the lecture we will watch parts of Un Chien Andalou/An AndalucianDog (Luis Buuel and Salvador Dali, France, 1929). You are encourage to wath the entire filmon your own as well as his second and explicitly surrealist film LAge DOr/The Golden Age(Luis Buuel, France, 1930). However, all of his films have elements or surrealist moments inthem, in particular The Exterminating Angel (Luis Buuel, Mexico, 1962) The Discreet Charmeof the Bourgeoisie (Luis Buuel, France, 1972) and CetObscur Object du Dsir/That ObscureObject of Desire(Luis Buuel, France 1977) For examples of early American avant-garde seeMeshes of the Afternoon(Maya Deren USA 1943) and Fireworks(Kenneth Anger USA 1947).For the more abstract or formalist experimental film see Paul Sharits, Stan Brakhage, MichaelSnow or the British Structuralist-materialist movement. For more contemporary examples ofthe avant-garde and surrealism see David Lynch, especially, Eraserhead(USA 1976) and Lost

Highway(USA 1996) and Tsukamoto Shinyas Tetsuo: The Iron Man(Japan 1991) and TetsuoII: Bodyhammer(Japan 1991).

Week 17. The Cinema of truth? Week commencing 13/02/12Dogme 95

Screening: Idiotern/The Idiots(Lars von Trier Denmark 1998)Reading: Richard Kelly, Its all too painful: Lars von Trier and The Idiots,in The Name of

this Book is Dogme 95(London: Faber and Faber, 2000), 135-150.Seminar: Purity, Simplicity and Shock: Following a ManifestoFurther Reading : Bordwell, David and Kristin Thompson (2003) Back to Basics: Dogme 95,

in Film History: An Introduction. London: McGraw Hill, 713-714.Simons, Jan (2007). Playing the Waves: Lars von Triers Game Cinema.Amsterdam:

Amsterdam Univ PressFurther Viewing: Festen/Celebration(Thomas Vinterberg, Denmark, 1998), Mifune SidsteSang/Mifune(Sren Kragh-Jacobsen, Denmark,1999) and Julien Donkey-Boy(HarmonyKorine, USA, 1999), Italiensk for begyndere/Italian for Beginners (Lone Scherfig,Denmark/Sweden, 2000)

Week 18. No Lecture: Week commencing 20/02/12Exam feedback and

Portfolio preparation tutorials

No Screening


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No Seminar Make an appointment for a tutorial on your exam result and/or Portfoliodevelopment.

Assessment Component B, Element 1, Portfolio due: 2 pm Thursday 23thFebruary, 2012

Part Three: History on Film

Week 19. True Lies: Week commencing 27/02/12Narrative and Documentary 1

Screening: Fahrenheit 9/11(Michael Moore USA 2004)Reading: Cynthia Weber, Who we might become, in Imagining America at War: Morality,

politics, and film(London and New York: Routledge 2006), 117-150.Seminar: Taking sides: The impossibility of neutrality and the presentation of factsFurther Reading: Bordwell, David and Kristin Thompson (2003),Documentary Cinema in

Film History: An Introduction. London: McGraw Hill, 579-588.Downing, John D.H. (2001) Film and Videoin Radical Media: Rebellious Communication and

Social Movements. London: Sage, 192-200Izod, John and Richard Kilborn (1998),The Documentary in John Hill and Pamela Church

Gibson, eds. The Oxford Guide to Film Studies. Oxford: OUP, 426-434.Musser, Charles (1998)Cinma Vrit and the New Documentary in GeoffreyNowell-Smith,

ed. Oxford History of World Cinema.Oxford, OUP, 527-537.Further Viewing: Other documentaries by Michael Moore include Roger and Me(USA, 1989)and Bowling for Columbine (USA, 2002). Another recent successful example of self-reflexivedocumentary is Super Size Me(Morgan Spurlock USA 2004). Also well worth a look is any ofthe work of Nick Broomfield includingAileen: Life and Death of a Serial Killer(UK/USA 2003),

Biggie and Tupac(UK, 2002) and Tracking Down Maggie: The Unofficial Biography ofMargaret Thatcher(UK, 1994). For other alternative takes on the Iraq work see the videomade by the Stop the War Coalition Not in My Name(Platform Films and Video UK, 2002) orany of the alternative news video produced by the radical media group Undercurrents(http://www.undercurrents.org)

Week 20. True stories: Week commencing 05/03/12Narrative and Documentary 2

Screening: Battle for Haditha(Nick Broomfield, UK 2008)Reading: Paul Ward, Drama-documentary, Ethics and Notions of Performance: The Flight

93 Films, in Thomas Austin and Wilma de Jong, eds, Rethinking Documentary: NewPerspectives, New Practices(Maidenhead: Open Univ Press, 2008), 191-203.Seminar: The Event and ReenactmentFurther Reading: Bazin, Andre (1967) The Ontology of the Photographic Image in What is

Cinema? Volume 1. Berkeley: Univ of California PressBruzzi, Stella (2006); New Documentary2ndEdition. London: RoutledgeNichols, Bill (1994) Blurred Boundaries: Questions of Meaning in Contemporary Culture.

Bloomington: Indiana Univ PressFurther Viewing: Other documentaries by Nick Broomfield are more in the observational orinterventionist modes, like Kurt and Coutney(1998), Biggie and Tupac(2002) andAileen: Lifeand Death of a Serial Killer(2003), Biggie and Tupac(UK 2002). For other alternative takes

on the Iraq war see the video made by the Stop the War Coalition Not in My Name(Platform


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Films and Video UK 2002) or any of the alternative news video produced by the radical mediagroup Undercurrents (http://www.undercurrents.org)

Week 21. Untold War Stories: Week commencing 12/03/12Victims, Survivors and Consequences

Screening: Sag-haye velgard/Stray Dogs (Marzieh Meshkini, Iran/France/Afghanistan, 2004)Reading: Egan, Eric (2011) Stray Dogs: Cruelty and Humanity among hardship in

Afghanistan in Joseph Gugler, ed., Film in the Middle East and North Africa: CreativeDissidence. Austin: University of Texas Press. available online at:http://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=true

Seminar: Class, race, gender and the multiplicity of historiesFurther Reading:Interview with Marzieh Meshkini available at

http://www.makhmalbaf.com/articles.php?a=401Danks, Adrian, The House that Mohsen Built: The Films of Samira Makhmalbaf and Marzieh

Meshkini. Senses of Cinemaavailable athttp://www.sensesofcinema.com/contents.02/22makhmalbaf.html

Iranian Cinema and the Amazing Makhmalbaf Family. Available athttp://cinema.cornell.edu/series/iraniancinema.html

The Makhmalbaf Film House website,http://www.makhmalbaf.comFurther viewing: The Makhmalbaf family has directed and produced a number of highlyinteresting films dealing with the human cost of the invasion of Afghanistan, among them:Safar e Ghandehar/Kandahar (Mohsen Makhmalbaf, Iran/France, 2001), Lezate divanegi/Joyof Madness (Hana Makhmalbaf, Afghanistan/Iran, 2003), Panj asr/At Five in the Afternoon(Samira Makhmalbaf, Iran/France, 2003) Buda as sharm foru rikht/Buddha Collapsed Out ofShame (Hana Makhmalbaf, Iran, 2007). Another film about the victims of war (in this case theKurdish population after the Iran-Iraq war) is the brilliant Takhte Siah/Blackboards(SamiraMakhmalbaf, Iran 2000). For another alternative view on a group of people who we rarely getto see on screen see In This World(Michel Winterbottom UK 2002) which tells the story of acouple of Afghani refugees perilous journey to the UK. Other interesting films are The KiteRunner(Marc Forster, US/China, 2007),Afghan Star(Havana Marking, UK, 2009).

Week 22. Hollywood Fights Back Week commencing 19/03/12

Screening: The Hurt Locker(Kathryn Bigelow, USA, 2008)Reading: Cunningham, D.A. (2010) Explosive Structure: Fragmentin the new modernist War

Narrative in the Hurt Locker in CineAction, Issue 81, 2010, 2-10 available at:

http://cineaction.ca/issue81sample.htmSeminar:The War Film genreFurther Reading: Benson-Allott, C. (2010) Undoing Violence: Politics, Genre and Duration in

Kathryn Bigelows cinema in Film Quarterly 64 (2): 32-43, Winter 2010. Availablethrough UWEs elibrary.

Kamalipour, Yahya R. and Nancy Snow, eds, (2004) War, Media and Propaganda: A GlobalPerspective. Oxford: Rowman and Littlefield

Schubart,Rikke (2009) War isn't Hell, It's Entertainment: Essays on Visual Media and theRepresentation of Conflict. London: McFarland & Company

Stahl, Roger (2009)Militainment, Inc: War, Media and Popular Culture. London: RoutledgeThussu, Daya Kishan and Des Freedman, eds, (2003)War and the Media. London: Sage

Westerwall, Guy (2006) War Cinema: Hollywood on the Front Line. London: Wallflower
http://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://www.makhmalbaf.com/articles.php?a=401http://www.makhmalbaf.com/articles.php?a=401http://www.sensesofcinema.com/contents.02/22makhmalbaf.htmlhttp://www.sensesofcinema.com/contents.02/22makhmalbaf.htmlhttp://cinema.cornell.edu/series/iraniancinema.htmlhttp://cinema.cornell.edu/series/iraniancinema.htmlhttp://www.makhmalbaf.com/http://www.makhmalbaf.com/http://www.makhmalbaf.com/http://cineaction.ca/issue81sample.htmhttp://cineaction.ca/issue81sample.htmhttp://cineaction.ca/issue81sample.htmhttp://www.makhmalbaf.com/http://cinema.cornell.edu/series/iraniancinema.htmlhttp://www.sensesofcinema.com/contents.02/22makhmalbaf.htmlhttp://www.makhmalbaf.com/articles.php?a=401http://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=truehttp://books.google.co.uk/books?hl=en&lr=&id=UQ9zsiRnQQMC&oi=fnd&pg=PA95&dq=iranian+film+stray+dogs&ots=BS_H0bjNE2&sig=h5OhU7LIqV0sx8fHyp2x_cBPJUI#v=onepage&q=iranian%20film%20stray%20dogs&f=true


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Further Viewing: Three Kings(David O. Russel, USA, 1999), Black Hawk Down (RidleyScott, 2001, USA), Jarhead (Sam Mendes, 2005, USA)Inglorious Basterds(Quentin Tarantino,USA 2009), Generation Kill (HBO Miniseries, David Simon 2008), Greenzone(Paul Greengrass,USA 2010), The Messenger(Oren Moverman, USA 2009), and numerous other films aboutconflicts in Iraq, Afghanistan, Pakistan and the War on Terror

Week 23. Module recap Week commencing 26/03/12

Screening: 11901 (Various, France, 2002)Seminar:Reading:

Week 24. No Lecture: Week commencing 02/04/12Essay preparation tutorials by appointment

No ScreeningNo Seminar

Easter break

Assessment Component B, Element 2, Essay due: 2 pm Tuesday 1stMay, 2012

. Assessment

7.1. SummaryType Due Date

Assessment Component A: 30% Examination:90 minutes(seen paper)

January 2012 AssessmentPeriod TBA

Assessment Component B,Element 1: 30%

Portfolio: 1500words

2 pm, Thursday 23t February, 2012

Assessment Component B,

Element 2: 40%

Essay: 2000

words

2 pm, Monday 1stMay, 2012

7.2. Assessment Component Details

The assessment for this module is split into Component A, which has one element,and Component B, which has two elements. Component A is an exam that you will sitin January 2012 and is worth 30% of the modules overall mark. Component B,Element One is a written Portfolio exercise also worth 30% of the modules overallmark and is due in on 9thMarch 2009; and Component B, Element Two is an essay

worth 40% of the modules overallgrade which is due in on 11

th

May 2009. To passthe module you must pass both Components. Pass grade is 40% overall for the


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component, so in Component B the combined pass grade of the two elements mustbe at least 40%.

Before you undertake any real assessments, there will be a mock assessmentexercise in Week 8. You will be expected to write one mock exam question answer(45 minutes) in your own time in preparation for your January exam. Almost noone

who completes this exercise fails the January exam. The question will be madeavailable during seminars in Week 7 and will also be made available on the MyUWEmodule site giving you time to prepare your answer. It will be up to you to time yourmock answer and you are strongly encouraged to spend no more than 45 minutes onyour answer. These mock assessments should be handed in during seminars in Week9 and will be returned with a feedback sheet before the Christmas break, giving youthe opportunity to discuss any points with your seminar tutors.

Preparation and advice about the written assignments in Semester Two will begiven in the course of seminars. There is time in the schedule for you to make a timeto meet with your seminar tutor and you are strongly encouraged to do this when you

need some advice about assignments or other issues about the module.All essays must be word-processed and you must use double spacing between

lines. Work must be properly punctuated using standard English, with spellingcarefully checked. All essays must referencesources (including page numbers)and include a bibliographyand filmography; marks will be deducted if you fail todo so. Essays and Portfolio assignments should include the full question as the title atthe top of page one of the assignment. You MUST give a word count at the end ofyour essays and portfolios. You should be within 10% either way of the required wordlength. In other words, 1500 word portfolio should be between 1350 and 1650 words(excluding the bibliography and filmography): the 2000 word essay should be

between 1800 and 2200 words. Essays or portfolios significantly outside these 10%limits will be penalised.

7.2.1 Details of Assignments

Component A: Exam

During the examination period in January 2011 (you will be informed of the exact datenearer the time) you will sit a 90 minute exam. The exam will represent 30% of yourfinal mark. The exam will be in two parts and you will need to answer one question

from part A and one question from part B. The exam will be a seen paper and copiesof the exam will be distributed in Week 11 and will be available on the MyUWEmodule site. The purpose of a seen exam is to allow you to research and prepare youranswers. However, you will not be allowed to take in any notes. This does not meanyou should try to pre-write and memorise two essays that you simply try toregurgitate on the day. Instead, you should construct an essay plan that will allow youto write a relevant and well-structured answer.

The exam aims to assess your knowledge and understanding of the first 12weeks of the module. The main emphasis will be on issues and ideas from Part One ofthe module. There will also be the opportunity to demonstrate some of your

knowledge and understanding of the first five weeks of Part Two of the module.


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The exam will have a single compulsory question which will ask you to discussthe development of film as a medium in relation to wider historical circumstances. Thesecond part of the exam will have a choice of six questions and you will be required toselect one of these to answer.

In addition to the general criteria given in the Faculty and University StudentHandbooks, the exam will be assessed in relation to the following elements:

Knowledge of key phases in the historical development of film

Ability to pay close and accurate attention to the film texts

Awareness of the wider historic context in which films are produced and consumed

Ability to structure and substantiate responses to the questions

Use of critical concepts and theories introduced in the module to back up yourarguments

Clarity of expression and clear use of English.

ResultsThe results of the exam will be available by 4 weeks from the exam date and studentswill receive feedback in seminars and via tutorial by appointment.

Component B, Element 1: PortfolioThe Portfolio exercise aims to assess your knowledge of a specific nationalcinema/film movement. The hand-in date is 2 pm, Thursday 24th February 2011. ThePortfolio will represent 30% of your final mark. Portfolio assessment guidance will begiven during the seminars for this part of the module. You can also make anappointment for a tutorial with your tutor. This assessment requires you to construct aPortfolio on oneof the film movements studied in part Two of the module. These are:German Expressionism, Soviet Montage, Surrealism and the Avant-Garde, Propagandaand Documentary filmmaking in the 1930s, Italian Neo-Realism, The French NewWave, Third Cinema, Direct Cinema/Cinema Verit and Dogme 95. The choice of filmmovement is up to you and you are more than welcome to discuss your choice withyour seminar tutor. The portfolio will have five sections:

Section One Description and Historical/Social context (500 words)

Section Two Film Analysis I - Set Text/Set Reading (500 words)Section Three Film Analysis II - Further Text/Further Reading (500words)Section Four FilmographySection Five Bibliography

Please rememberyou only have 500 wordsfor each of the first three sectionsso you should write clearly and concisely and concentrate on the main points. We arenot looking for obscure or controversial readings of the movement, just a cleardemonstration that you know the key ideas in the scholarship on your movement as

indicated in lecture, listed readings and in seminar discussion. Regular attendance at


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lectures and seminars will ensure that you will be more than equipped to write yourportfolio.

Section One: Description and Historical/Social Context (500 words)In this section you should outline whatyou think the film movement in question is,

whatare its key themes and issues, whowas/are the main filmmakers and/ortheorists of this movement, whereit developed and why. Your emphasis should be onplacing the development of your chosen type of filmmaking into the wider cultural andhistorical circumstances of their production and initial consumption. Please note thatto do this you may well have to briefly refer to other film movements which yourparticular movement can be understood as a reaction to or further developing.

Section Two: Film Analysis I Set Text/Set Reading (500 words)In this section you should offer an analysis of the film shown on the module as anexample of this film movement. Your reading should focus on how the film reflects the

ideas and concepts described in section one of your portfolio. General plotdescriptions are not necessary and you are instead encouraged to focus in depth onindividual scenes, formal elements and/or themes rather than the entire film. Youshould make use of the set reading that accompanied the film that week and includeat least oneproperly referenced quote from that reading to back up and support yourargument. The quote/s should specifically help explain your analysis of a particularmoment or aspect of the film.

Section Three: Film Analysis II Further Text/Further Reading (500 words)In this section you should offer an analysis of a film notshown on the module as

another example of this film movement. While there are plenty of examples listedunder further viewing you may choose a different film if you feel it is an appropriateexample of this type of filmmaking. If you wish to use a film not listed under furtherviewing check with your seminar tutor that it is appropriate. As with section two, youranalysis should focus on how the film reflects the ideas and concepts described insection one of your portfolio. In addition to this you should also compare and contrastthis film analysis with your analysis of the set film. On this occasion you should makeuse of a differenttheoretical reading than the main set reading. Once again there areplenty of examples listed under further reading, but you can also use otherappropriate articles and books from the library. If you are unsure what counts as

appropriate sources, speak to your tutor.Please note that general Internetsources and introductory material on sites like Wikipedia and Filmsite.orgare not acceptable.

Section Four: FilmographyIn this section, you should offer a filmography that properly references as manysuitable examples of your chosen film movement as seems sensible. Obviously this listwill vary in length from movement to movement, but generally it should at least belonger than the one you have been provided with under further viewing in the lectureprogramme details. Once again, paying close attention in and active note takingduring lectures and seminars will undoubtedly help with this process. At the same

time you dont need to make the list ridiculously long.While there is no word count assuch for these two sections of the portfolio, 8 to12 entries should suffice. Your


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filmography should include the earliest and latest example of your chosen filmmovement. Although filmographies are usually organised alphabetically by title, in thisinstance, you may wish to list these films chronologically, by director, or by themes. Ifyou do this you must briefly justify your decision and in particular give a reason forthe start and (if appropriate) end date you suggest for your film movement.

Section Five: BibliographyThis final section of your portfolio should offer a bibliography of academic sources ofinformation on your chosen film movement. As well as the actual set and furtherreadings you have used to construct your portfolio answers it is expected that itshould include (and exceed) the additional references already provided in the modulehandbook. Entries should be listed alphabetically by author. However, this is notsimply an exercise in listing, but in gathering information and demonstrating yourfamiliarity with the library systems. We would expect the bibliography to have around8 to 10 entries. These may include whole books, chapters in books, papers in

journals and Internet sources if you feel they are from a reliable scholarly source.Please make sure you have referenced all these different sources correctly. You will beassessed on the accuracy, quality and relevance of your chosen sources.

In addition to the general criteria given in the Faculty Student Handbook, the portfoliowill be assessed in relation to the following elements:

Knowledge of key movements in the historical development of film

Ability to pay close and accurate attention to the film texts

Awareness of the wider historic, geographic and cultural context in which these film

movements arose both in terms of their production and consumption Use of critical concepts and theories introduced in the module lectures, seminars

and materials and relevant quotations to back up your arguments

Ability to gather and structure a range of types of information

Clarity of expression, attention to detail and clear use of English.

ResultsThe marks for the portfolio will be available by Thursday 24thMarch 2011 andstudents will receive general feedback in seminars.

Component B, Element 2: Essay (2,000 words)

The essay aims to assess your knowledge of debates about the cinematicrepresentations of history and period.The hand-in date is 2 pm, Friday 8thApril,2011. The essay will represent 40% of your final mark. While this assessment willfocus on your knowledge and understanding of Part 3 of the module you should useinformation from and draw comparisons with films, readings and conceptsencountered throughout the module, when appropriate. The questions are as follows:

Answer oneof the following questions:


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1.Is Battle for Hadithaa documentary? Answer this question by analysing itsrepresentation of the historical events it depicts and assessing it in relation totheories of documentary representation. In particular, you should address the filmsuse of reenactment, narrative structure, character development, and its claims tohistorical verifiability and objectivity.

2. How does Fahrenheit 9/11use particular narrative and cinematic techniques tomake its political pointsabout the Bush Jnr Presidency? Compare and contrast theuse of these techniques to earlier forms of documentary and/or propagandaexamined in the module. State your view on the legitimacy of the film as adocumentary and justify it through your analysis of the film, and reference tocriticism of it and to documentary theory.

3. Compare and contrast Takhte Siah/Blackboardsrepresentation of personalexperience and national history with ONE other film shown on the module. In your

comparative analysis, discuss and analyse both content (such as narrativestructure, themes, character development etc.) and form (such as point of view,camera setups/placement/movement, image and sound relations, editing, etc.).Through your discussion of the two films, describe and evaluate what is significantabout Blackboardsas a representation of the consequences of war for people livingthrough it.

4. Ridley ScottsBlack Hawk Down is about theBattle of Mogadishuin Somalia in1993 involving US troops. It was released in 2001. Analyse and evaluate the filmsrepresentation of historical events. In your answer consider how it uses war film

genre conventions (plot, key characters, perspective, moral and political themes,depiction of combat, etc), and how the post-9/11 context of its release might haveaffected its reception or significance.

5.Compare and contrast ONE film from Part Two of the module (Movements,Moments and Manifestos) with any ONE film from Part Three and discuss how themore recent film demonstrates the influence of or responds to this earlier form offilmmaking.

Assessment Criteria

In addition to the criteria given in the Faculty Student Handbook, the essays will beassessed in relation to the following criteria:

Critical engagement with relevant sources, including evidence of independentresearch

knowledge of debates, concepts and ideas introduced in the module lectures,seminars and materials about the cinematic representations of history and period

Ability to pay close and accurate attention to film texts and to relate this textualanalysis to the wider historical contexts in which the films are set, produced andconsumed

Ability to structure and substantiate an argument in response to the question


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Clarity of expression and accuracy in spelling, grammar and punctuation, includingcorrect referencing, bibliography and filmography.

PreparationAssessment guidance will be given in seminars for this part of the module. This will

include suggestions about which films and readings are most relevant to whichquestions, as well as advice on how to research and write critical essays. Essaysshould include:

An introduction and conclusion which present your arguments clearly and concisely

A clear rationale for the choice of film/s and a clear specification of the ways inwhich you will approach the question

Close analysis of elements from your chosen film/s, to support your arguments

Sustained engagement with a range of critical concepts and theories introduced inthe module lectures, seminars and materials and scholarly research relevant to the

questionA full and accurate bibliography and filmography

Finally, remember that what most clearly distinguishes an academic essay from otherforms of writing is that it must reference its sources and include a bibliographyand filmography. You will lose marks if you fail to do so. Referencing guidelines areavailable on the modules MyUWE site.

Results The 2000 word essay, with comments and marks, will be made available for

collection following the Academic Field Board meeting in June 2011. The Universitywill notify you when your results are available.

Note: Information about module resits will be posted on the modules MyUWEwebsite.

8. Module Specification Document

This can be found on the University website at

http://info.uwe.ac.uk/modules/displayentry.asp?code=UACPRJ-30-1&rp=listEntry.asp
http://info.uwe.ac.uk/modules/displayentry.asp?code=UACPRJ-30-1&rp=listEntry.asphttp://info.uwe.ac.uk/modules/displayentry.asp?code=UACPRJ-30-1&rp=listEntry.asphttp://info.uwe.ac.uk/modules/displayentry.asp?code=UACPRJ-30-1&rp=listEntry.asp

Documents

Topics Handbook 11-12