Film as industry plays out against the backdrop of a global economy, and at any given location witnesses high volumes of transnational flows of money, ideas and talent. At the intersections of these transnational flows we can detect influences of stakeholders such as filmmakers, press and media as well as power structures embodied by politicians, governments and corporations. Internet technology development and new digital ‘content platforms’ from smart phones and TVs to tablets and ‘all-in-one entertainment systems’ have changed audiences’ viewing habits drastically and continue to do so. This in turn has influenced how various film industries with national and transnational dimensions have acted and reacted.
This module explores key issues and discourses of a range of distinct film industries since the end of WWII, and investigates their forms and impact from historical, sociocultural and political-economic points of view. Drawing on examples from mainstream film industries and independent cultural film practices from around the world (e.g. North America, Europe, East Asia), this module will introduce you to key themes as well as the latest trends of film finance, production, distribution and dissemination, marketing and publicity, and exhibition. Topics such as crowdfunding, creative labour accumulation and migration, film distribution via digital platforms and international film festival circuit will be discussed.
FILM1001 or FILM2006 or FILM1020 or FILM1027 or FILM1020
Aims and Objectives
Transferable and Generic Skills
Having successfully completed this module you will be able to:
- communicate effectively in writing and speech
- independently research appropriate resources
- produce appropriate critical analysis
- organise your time effectively
Subject Specific Intellectual and Research Skills
Having successfully completed this module you will be able to:
- critically research and analyse films and film industry practice in academic writing
- apply the module’s concepts and themes to other contexts, and expand knowledge of these themes into other areas
- engage critically with a range of theories, discourses and films
Knowledge and Understanding
Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:
- the relationships among various stakeholders that are in play within and among distinct film industries
- the themes explored in this module and be able to connect them to other international contexts
- the historical, social, cultural, political and economic contexts of film industry practice across the world since the end of WWII
- the range of film industries from around the world and their key concerns
We will begin by looking at the essentials of any given film industry. Weekly lectures will revolve around the chosen film(s) of the week to explore key themes. This module employs a wide selection of films, which might typically include films such as Brief Encounter (dir. David Lean, 1945), Jaws (dir. Steven Spielberg, 1975), Days of Being Wild (dir. Wong Kar-wai, 1990), Taste of Cherry (dir. Abbas Kiarostami, 1997), Dancer in the Dark (dir. Lars von Trier, 2000), Red Cliff I and II (dir. John Woo, 2008 and 2009), as the core texts of discussions. They will enable you to understand different film industries’ sociocultural and political-economic concerns in different time periods in a globalised world.
Assigned readings will further support the weekly discussions in lectures and seminars that aim to familiarise you with a broad range of discourses, as well as the latest trends of film finance, production, distribution and dissemination, marketing and publicity, and exhibition. Topics such as crowdfunding, creative labour accumulation and migration, film distribution via digital platforms and international film festival circuit will be discussed.
Learning and Teaching
Teaching and learning methods
Teaching methods include:
- Lectures, used to introduce key issues and themes
- Seminars, incorporating small group work and larger group discussion
- Screenings of selected films
- Individual consultations with tutor
Learning activities include:
- Independent study, research and viewing
- Critical thinking, reading and writing
- Engagement in seminar discussions as both speaker and listener
- Preparation of written assignments
|Completion of assessment task||70|
|Practical classes and workshops||30|
|Preparation for scheduled sessions||30|
|Total study time||150|
Resources & Reading list
Taste of Cherry (dir. Abbas Kiarostami, France/Iran, 1997).
Brief Encounter (dir. David Lean, UK, 1945).
Jaws (dir. Steven Spielberg, USA, 1975).
Days of Being Wild (dir. Wong Kar-wai, Hong Kong, 1990).
Red Cliff I and II (dir. John Woo, China/Hong Kong/Japan/South Korea/Taiwan, 2008 and 2009).
Dancer in the Dark (dir. Lars von Trier, Argentina/Denmark/Finland/France/Germany/Iceland/Italy/Netherlands/Norway/Spain/Sweden/UK/USA, 2000).
McDonald, Paul and Janet Wasko, eds (2008). The Contemporary Hollywood Film Industry. Malden and Oxford: Blackwell.
Finney, Angus with Eugenio Triana (2010). The International Film Business: A Market Guide Beyond Hollywood. London and New York: Routledge.
Ashby, Justine and Andrew Higson, eds (2000). British Cinema, Past and Present. Oxon and New York: Routledge.
Davis, Darrell William and Emilie Yueh-yu Yeh (2008). East Asian Screen Industries. London: BFI.
Cheung, Ruby (2015). New Hong Kong Cinema: Transitions to Becoming Chinese in 21st-Century East Asia. Oxford and New York: Berghahn Books.
Jäckel, Anne (2003). European Film Industries. London: BFI.
Kindem, Gorham, ed (2000). The International Movie Industry. Carbondale and Edwardsville: Southern Illinois University Press.
Differentiation between 2nd and 3rd level work
For 3rd level students taking this module, expectations will be higher than those for 2nd level students. The overall assessment criteria will be accordingly stricter. In particular:
- Topics chosen for the assignments should allow a greater degree of focus and detail, whether of analysis, examination of and commentary on facts, critical insight, independent argument, or other factors.
- Conversely, assignments should demonstrate a broader knowledge and understanding of context, a more confident use of analytical and critical tools, and a more mature handling of argument, etc.
- Optimal standards of presentation are required, in terms of spelling, punctuation, and grammar; sophistication of vocabulary; provision of footnotes; inclusion of full bibliographic and related details; physical appearance of work, etc.
In short, 3rd level students should aspire at all times to the highest possible levels of undergraduate work.
Summative assessment description
Referral assessment description
Repeat type: Internal & External