Module overview
Critical and theoretical fashions have led to waves of new approaches and methodologies, each with certain distinctive emphases and concerns. These have made Film Studies into a rich and varied discipline, particularly as they have formed an addition to concerns rather than a replacement for the concerns that have animated film theory and analysis since the birth of the medium. This module was conceived as a complement to ‘Interpreting Film: Contextual Approaches to Cinema History’. It will look at some of the tradition and essential concerns of film theory, including notions of film as art and how films ‘work’ on a micro-scale. Its focus will be on ‘Classical Film Theory’ (including Eisenstein, Bazin, etc), which set out the traditional interests and emphases of Film Studies. The module will address questions of ontology and epistemology, as well as debates about art and cultural value
Another central concern of this module is textual detail and there will be a focus on close textual analysis of films. Consequently, there is an interest in film ‘specificity’ – seeing film as film (as Victor Perkins put it), rather than seeing film as a symptom of something else (eg.social change, cultural degeneration), or as a vehicle for other concerns (such as more general social, economic or cultural history, or sociological, philosophical or psychological concerns) that reside outside of cinema.
Aims and Objectives
Learning Outcomes
Transferable and Generic Skills
Having successfully completed this module you will be able to:
- communicate ideas in a competent and highly-informed manner (in terms of clarity of expression, structure of argument, correct grammar/spelling, appropriate presentation/layout etc.)
- engage in informed and authoritative discussion with peers on specific topics related to questions of film studies paradigms
- access recent research findings on the development of Film Studies as an academic discipline
- define and manage research projects
Knowledge and Understanding
Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:
- understand systematically the techniques of textual analysis relevant to detailed appraisals of films, formal analysis in particular, embracing different aspects of close material analysis of films, including spatial, temporal, sonic and image analysis
- detailed knowledge about the small repertoire of films studied in the course , in terms of narrative and formal detail, representational aspects, references to other texts and aspects of production
- understand to a high degree of sophistication the principal theories that have been applied to film
- the possible underlying structures of films, that have been focused upon by theories of film
Subject Specific Intellectual and Research Skills
Having successfully completed this module you will be able to:
- evaluate theories carefully, both in themselves and in their application to films, demonstrating a synoptic view of the discipline
- apply with precision and self-reflexivity different film theories to individual films
- develop to a high standard highly-informed, original and intellectually persuasive critical arguments in discussions and in writing
- achieve sophisticated and complex textual analysis of films, the exhibit detail and precision to a high level
- assess precisely the impact of theories to the development of Film Studies as an academic discipline
Syllabus
Typically the syllabus will include a number of important 'big questions' that have animated film theory. The module is concerned with the foundational questions and theories that grew up with film as a medium and remain important and unanswered questions. Some of the earliest theories of film were concerned with discovering film’s ‘essence’: what is the defining aspect of film as a medium? Broadly, this so-called ‘Classical Film Theory’ can be divided into ‘phenomenological concerns’ about the convincing depiction of the world, and ‘linguistic concerns’ about the possibilities of providing a point of view of the world through inclusion, exclusion and connection. Other concerns include how film is able to have such a strong emotional impact, its potential as a manipulative device, and its status as an art.
Learning and Teaching
Teaching and learning methods
Teaching methods include
- plenary seminar discussion
- tutor-supported individual work
Learning activities include
- preparation for individual discussion and participation in group discussion on a variety of relevant topics
- completion of an assignment requiring you research and analysis
| Type | Hours |
|---|---|
| Teaching | 40 |
| Independent Study | 110 |
| Total study time | 150 |
Resources & Reading list
Textbooks
Thomas Wartenberg, Angela Curran, eds., (2005). The Philosophy of Film: Introductory Texts and Readings. Oxford: Blackwell.
David Bordwell (1985). Narration in the Fiction Film. London: Routledge.
Thomas Elsaesser, Malte Hagener (2010). Film Theory: An Introduction Through the Senses. London: Routledge.
Assessment
Assessment strategy
Assessments are designed to provide formal and informal feedback. Informal includes peer discussion/support, and consultation with the tutor in preparation for the formal assessments. Formal Assessment takes place on the written assignment.
Formative
This is how we’ll give you feedback as you are learning. It is not a formal test or exam.
ExerciseSummative
This is how we’ll formally assess what you have learned in this module.
| Method | Percentage contribution |
|---|---|
| Essay | 100% |
Referral
This is how we’ll assess you if you don’t meet the criteria to pass this module.
| Method | Percentage contribution |
|---|---|
| Essay | 100% |
Repeat Information
Repeat type: Internal & External