Modules for course P3W5 | BA/FSTP
BA Film Studies with Theatre and Performance
This is a provisional list of modules to be offered on this course in the 2019–20 academic year.
The list may not be complete, and the final course content may be different.
- UXS-1063: Film History (20) This module aims to provide students with an understanding of the link between film technologies, narratives, styles, genres, and subjects, and the societies in which film circulates. Lectures will introduce students to a range of important changes which have influenced the development of the filmic medium. The course will help students to situate the selected films in their cultural, , generic, and technological context. Lectures cover topics such as: Genre (Western, Screwball Comedy, Sport, Epic...), Narrative structure, Early Cinematic Milestones, The Introduction of Sound, Classical Hollywood Studio System, Asian Post-War Cinema, Italian Neo-Realism. Weekly screenings illustrate issues covered in lectures and associated readings, and will provide a case study for weekly workshops. Films/shorts to be screened may include: Le Voyage dans la Lune (Méliès, 1902), Man with a Movie Camera (Vertov, 1929), M (Lang, 1931), Blackmail (Hitchcock, 1929), Der Blaue Engel (Von Sternberg, 1930), Citizen Kane (Welles, 1941), Roma, Città Aperta (Rossellini, 1945), Rashomon (Kurosawa, 1950), Ladri di Biciclette (De Sica, 1948), À bout de soufflé (Godard, 1960), Memento (Nolan, 2000), There Will Be Blood (Anderson, 2007).
- UXS-1065: Film Criticism (20)
- UXS-1403: Performing for Stage & Screen (20) or
UXB-1403: Perf. ar gyfer y Llwyfan & Sg. (20)• Introduction to the key techniques and methods used for performing for the stage and screen • Exploring the psychological, physical and vocal understanding of actor’s training • Investigating the historical and cultural legacy of selected performing traditions.
- UXS-1062: Film Language (20) This module provides students with a toolkit for the analysis of the moving image and aims to provide students with a technical vocabulary to enable them to analyse and to discuss how films communicate meaning. The individual elements of this toolkit are analysed in detail. Lectures cover topics such as: Mise-en-Scene, Editing, Camerawork, Sound, Lighting, and Style. Weekly screenings illustrate relevant aspects of film form. Films to be screened may include: A Man Escaped (Bresson, 1956), The Innocents (Clayton, 1961), City of God (Meirelles, 2002), Atonement (Wright, 2007), Bourne Ultimatum (Greengrass, 2007). The Red Shoes (Powell & Pressburger, 1948), and Moulin Rouge! (Luhrman, 2001)or
UXC-1062: Iaith y Ffilm (20)Mae'r cwrs hwn yn fodd o alluogi myfyrwyr i ddysgu hanfodion dadansoddi'r ddelwedd symydol. Bydd myfyrwyr ar y cwrs yn dysgu terminoleg dechnegol a fydd yn eu cynorthwyo i ddadansoddi a dehongli y modd y mae ffilm yn cyfathrebu ystyr. Bydd darlithoedd unigol yn trafod pynciau megis Mise-en-Scene, Montage, Gwaith Camera, Sain, Goleuo ac Arddull Weledol. Bydd dangosiadau o ffilmiau perthnasol yn cael eu cynnal yn wythnosol, er mwyn cyflwyno engrheifftiau o'r pynciau dan sylw. Bydd y ffilmiau a ddangosir yn cynnwys: A Man Escaped (Bresson, 1956), The Innocents (Clayton, 1961), City of God (Meirelles, 2002), Atonement (Wright, 2007), Bourne Ultimatum (Greengrass, 2007). The Red Shoes (Powell & Pressburger, 1948), ac Moulin Rouge! (Luhrman, 2001)
- UXS-1066: American Television Drama (20)
- UXB-1120: Dyfeisio Theatr (20) What is performance? What are all the elements involved in a performance? The historical and cultural legacy of selected theatre traditions. How selected theatre traditions challenged and enhanced the notion of performance and the theatre.or
UXS-1120: Theatre Making (20)What is performance? What are all the elements involved in a performance? The historical and cultural legacy of selected theatre traditions. How selected theatre traditions challenged and enhanced the notion of performance and the theatre.
- UXB-2408: Perfformio Safle Benodol (20) Introduction to site specific performances, conventions and performance practice Exploring performance in a non-theatre building environment The historical and cultural legacy of selected performing traditions.or
UXS-2408: Site Specific Performance (20)Introduction to site specific performances, conventions and performance practice Exploring performance in a non-theatre building environment The historical and cultural legacy of selected performing traditions.
- UXS-2064: Film Theory (20)
- UXB-2400: Ymarfer Theatr Cyfoes (20) Introduce theoretical and practical research in Contemporary Theatre Practice Explore advance theatre making methods to create original creative work Practice Workshop delivery and how to evaluate practiceor
UXS-2400: Contemporary Theatre Practice (20)
60 credits from:
- LXG-2008: The German Film (20) (Semester 2) This module will examine a selection of nine German films reflecting key themes in German cinema, from its beginnings to the present day. Students will be provided with an introduction to the history of German cinema, and will develop a detailed knowledge of the films examined both as historical documents and as cinematic texts. Whilst certain attention will be paid to cinematographic devices and the different movements associated with German cinema, the module will also explore the chosen films in a far wider context, examining the social and historical events surrounding the creation of the films, thus broadening students' knowledge of German history and culture. Primary Sources: Films: Das Cabinet des Dr Caligari, dir. by Robert Wiene (1919) M: Eine Stadt sucht einen Mörder, dir. by Fritz Lang (1931) Triumph des Willens, dir. by Leni Riefenstahl (1935) Angst essen Seele auf, dir. by Rainer Werner Fassbinder (1973) Der Himmel über Berlin, dir. by Wim Wenders (1987) Lola rennt, dir. by Tom Tykwer (1998) Good Bye Lenin!, dir. by Wolfgang Becker (2003) Das Leben der Anderen, dir. by Florian Henckel von Donnersmarck (2006) Recommended Reading Bergfelder, Tim, et al., The German Cinema Book (London: BFI, 2002) Cooke, Paul, German Expressionist Films (Harpenden: Pocket Essentials, 2002) Elsaesser, T., New German Cinema: A History (New Brunswick, NJ: Rutgers University Press, 1989) Ginsberg, T. and K.M. Thompson (eds), Perspectives on German Cinema (New York: G.K. Hall, 1996) Hake, Sabine, German National Cinema (London: Routledge, 2002) Brockmann, Stephen, A Critical History of German Film (Rochester, NY: Camden House, 2010).
- QXE-2024: Alfred Hitchcock (20) (Semester 2) Alfred Hitchcock is perhaps the most notable example of a director whose films were popular both with audiences and with critics seeking to establish the credibility of film as an art form. His work provides a case-study of theories of authorship; of different national cinemas and studio systems, and of a particular genre, the thriller. In addition, the popularity and accessibility of Hitchcock’s films also raise questions concerning narrative, spectatorial pleasure, the gaze, and gender, and consequently provide an opportunity to explore the interrelation and limits of film theory and film practice
- UXS-2025: Stanley Kubrick: Auteur (20) (Semester 1) Topics that will be covered in this module include all of Kubrick’s films, as well as how these intersect with events such as World War One, the Holocaust, the Cold War and the Vietnam War and such issues as science, technology, history, race, violence, gender, ethnicity, sexuality and war.
- LXS-2033: The Cinema of Spain (20) (Semester 2) Spanish cinema and its pioneers Neorealism and political dissent in the 1950s (Luís Buñuel, Viridiana) Art house cinema in the 1960s (Víctor Erice, El espirítu de la colmena) The cinema of the transition: the `disenchantment¿ Popular genres in post-Franco Spain The Spanish film industry in the 1980s and 1990s Gender and sexuality is post-Franco cinema (Pedro Almodóvar, Hable con ella) Catalan and Basque cinema (Julio Medem, Tierra) The internationalization of Spanish cinema (Alejandro Amenábar, Mar adentro) Social realism at the turn of the century (Fernando León, Los lunes al sol) Women in contemporary Spanish cinema (Icíar Bollaín, Te doy mis ojos) The films are available in the School of Modern Languages DVD library. Primary Films: Luis Buñuel, Viridiana (1961) Víctor Erice, El espíritu de la colmena (1973) Pedro Almodóvar, Volver (2006) Agustí Villaronga, Pa negre (2010) Icíar Bollaín, Te doy mis ojos (2003) Recommended reading: Bentley Bernard P. E., A Companion to Spanish Cinema (London: Tamesis, 2008) Caparrós Lera, José María, El cine español de la democracia: de la muerte de Franco al "cambio" socialista (1975-1989) (Barcelona: Anthropos, 1992) Deveny, Thomas, Cain on Screen: Contemporary Spanish Cinema (Lanham: Scarecrow Press, 1999) D'Lugo, Marvin, Guide to the Cinema of Spain (Westport: Greenwood Press, 1997) Fiddian, Robin W. and Peter W. Evans, Challenges to Authority: Fiction and Film in Contemporary Spain (London: Tamesis Books, 1988) Jordan, Barry and Rikki Morgan-Tamosunas, Contemporary Spanish Cinema (Manchester: Manchester University Press, 1998) Pavlovi, Tatjana, 100 years of Spanish Cinema (Malden: Wiley-Blackwell, 2009) Triana-Toribio, Nuria, Spanish National Cinema (London: Routledge, 2003) Resina Joan Ramon (ed.), Burning Darkness: a Half Century of Spanish Cinema, ed. (Albany: SUNY Press, 2008)
- UXS-2050: Race & Gender (20) (Semester 2) Topics to be looked at will include, Senegalese Cinema, representing prostitution, women in photography, race and gender in performance art, representing women on film, women and genre, Women and horror, women and action, Australian Visual Culture, Aboriginal female film makers, remembering the slave trade, post-colonialism, neo-colonialism and representation, how we define ‘white’.
- UXS-2059: Understanding Documentary (20) (Semester 1) This course will look at the development of documentary film, attempting to place important developments within a theoretical context. The course will begin by looking at the way in which the early pioneers of documentary film emerged in the 1920s, and seek to understand the contributions of John Grierson, Robert Flaherty and Dziga Vertov, and the relationship between their work. This will be followed by an examination of the emergence of Direct Cinema and Cinema Verité during the 1960s, and the challenges faced by those attempting to work within observational documentary. The rejection of the purely observational mode of documentary, and the rise of the participatory film-maker will follow, leading on to an examination of reflexive documentaries, the role of dramatisation within documentary film, drama-documentary and docudrama. The final part of the course will look at the influence of new technology upon documentary film, analysing the influence of both computer generated imagery and animation upon documentary film. Specific attention will be paid to the work of film-makers such as Albert and David Maysles, DA Pennebaker, Nick Broomfield, Molly Dineen, Errol Morris, and Kevin MacDonald among others.or
UXC-2046: Y Ffilm ddogfen:Theori (20) (Semester 1)Bydd y cwrs hwn yn edrych ar ddatblygiad ffilmiau dogfen gan geisio gosod datblygiadau pwysig mewn cyd-destun damcaniaethol. Caiff hanes y ffilm ddogfen ei drafod yng nghyd-destun y cwestiynnau syniadaethol a ddilynodd o esblygiad gwahanol fathau o ffilmiau dogfen. Bydd myfyrwyr ar y cwrs yn edrych ar amrediad o ffilmiau, o'r 1920au hyd heddiw, ond bydd mwyafrif y ffilmiau a fydd yn cael eu harchwilio yn rhai cyfoes. Bydd gofyn i'r myfyrwyr ddadansoddi'r ffilmiau, gan gyfeirio at theori dogfen wedi ei ysgrifennu gan amrywiaeth o awduron, gan gynnwys: John Grierson, Dziga Vertov, Paul Rotha, Bill Nichols, Stella Bruzzi, John Corner, a Paul Wells, ymhlith eraill.
- UXS-2062: Film Distribution & Marketing (20) (Semester 1)
- LXF-2104: French Cinema 1895-1950 (20) (Semester 1) The French hold cinema in greater esteem than perhaps any other nation, both as an art form and as popular entertainment; since its inception, the septième Art has produced a wealth of talent and many films of world standing. In this course we will look - on the big screen - at prominent examples of French cinema from its first decades, from the earliest work of the Lumière brothers in the 1890s to the mid-20th Century. The course looks at the general development of French cinema in the period, concentrating on: (i) a major classic from the silent era; (ii) a film from the Poetic Realism movement of the 1930s; (iii) an artistic, non-realist film from the end of the period covered. Key texts Main films studied Luis Buñuel’s Un Chien andalou Jean Vigo’s Vigo’s Zéro de conduite Jean Renoir’s Boudu sauvé des eaux Jean Renoir’s La Grande Illusion Marcel Carné’s Hôtel du Nord Marcel Carné’s Le Jour se lève Main secondary texts Andrew, James Dudley. Mists of regret: culture and sensibility in classic French film (Princeton: Princeton University Press, 1995). Armes, Roy. French Cinema (London: Secker and Warburg, 1985). Hayward, Susan. French National Cinema, (London and New York: Routledge, 2005). Hayward , Susan and Ginette Vincendeau (eds.). French Film: Texts and Contexts (London and New York: Routledge, 2002). Martin, John. The Golden Age of French Cinema, 1929-1939 (London: Columbus Books, 1983). Powrie, Phil and Keith Reader (eds.). French Cinema: A Student's Guide (London: Arnold, 2002). Williams, Alan. Republic of images: a history of French film making (Cambridge, MA: Harvard University Press, 1992).
- UXB-3408: Perfformio Safle Benodol (20) Introduction to site specific performances, conventions and performance practice Exploring performance in a non-theatre building environment The historical and cultural legacy of selected performing traditions.or
UXS-3408: Site-Specific Performance (20)
- UXB-3400: Ymarfer Theatr Cyfoes (20) Introduce theoretical and practical research in Contemporary Theatre Practice Explore advance theatre making methods to create original creative work Practice Workshop delivery and how to evaluate practiceor
UXS-3400: Contemporary Theatre Practice (20)
40 credits from:
- UXB-3900: Research Dissertation (40) (Semester 1 + 2)
- UXB-3901: Creative Practice Dissertation (40) (Semester 1 + 2)
- UXB-3902: Enterprise Dissertation (40) (Semester 1 + 2)
40 credits from:
- LXI-3011: Adaptations in European Cinema (20) (Semester 1 + 2) During this course you will be introduced to issues relating to the re-use of tradition through the study of adaptations and/or recreations of literary texts, historical events or historical figures in Spanish and Italian cinema. You will thus become familiar with the socio-historical and ideological concerns that characterise contemporary Spain and Italy and you will reflect on the importance of film as a cultural medium. Primary sources: Films - Bernardo Bertolucci, 'Spider's Stratagem' (1969) - Vittorio De Sica, 'The Garden of the Finzi-Continis' (1970) - Francesco Rosi, 'Carmen' (1984) - Carlos Saura, 'Carmen' (1983) - Film and literary adaptions of the myth of Pygmalion - David Trueba, 'Soldados de Salamina' (2003) Primary sources: Texts ** A Dossier with all compulsory reading material (including short primary sources and required critical reading for seminars) will be made available from SMLC office in week 1. - Borges, Jorge Luis, "Theme of the Traitor and the Hero" in 'Labyrinths' (Penguin Books, 1970) [in dossier] - Bassani, Giorgio, 'The Garden of the Finzi-Continis' (Quartet Books, 1997) or Bassani, Giorgio 'Il Giardino dei Finzi-Contini' (Einaudi, 1999) - Bizet, Georges, 'Carmen', libretto by Henri Meilhac and Ludovic Halévy with English [in dossier] - Mérimée, Prosper, 'Carmen' trans. by Nicholas Jotcham (Oxford: Oxford UP, 1998) [in dossier] - Quim Monzó, ‘Pigmalió’, in El perquè de toto plegat (Quaderns Crema, 1993). - Javier Cercas, 'Soldados de Salamina' (Tusqusts Editores, 2003); 'Soldiers of Salamis' (Bloomsbury, 2003)
- UXS-3025: Stanley Kubrick: Auteur (20) (Semester 1) The enigmatic Stanley Kubrick was one of the most well-known filmmakers of the twentieth century. Although not prolific, his work was widely admired both by critics and mass audiences. Kubrick's films also provide a prism through which we can view the major events of the twentieth century including World War One, the Holocaust, the Cold War and the Vietnam War. In doing so, his films provide an opportunity to explore the key themes of science, technology, history, race, violence, gender, ethnicity, sexuality and war. Teaching is by means of a two-hour seminar per week. In addition, students are required to organise small-group viewing of designated films per week.
- LXS-3041: Iberian Identity on the Screen (20) (Semester 2) The module will cover the following topics: 1) Theorising national cinema: key concepts; 2) Challenging the hegemonic gaze: the Barcelona School of Film; 3) Staging Identity: Adaptations of theatre and the novel 4) Re-mapping the urban landscape: the films of Ventura Pons; 5) Female Subjectivity and Authorship in Sílvia Munt’s Gala (2003); 6) Monstrous Identities: containing illness and sexual deviance in El mar by Agustí Villaronga; 7) Trauma in Elisa K by Judith Colell and Jordi Cadena; 8) The New Documentary: Memory and Reconstruction; 9) Beyond National Boundaries: Transnationalism and Multilingualism in Els nens salvatges by Patricia Ferreira ; 10) New Directions: science fiction and the horror genre; and 11) Scene-Analysis (one-hour in-class assessment) & Revision and Essay Preparation. Core films: Delete Nedar by Carla Subirana
- UXS-3050: Race & Gender (20) (Semester 2) Topics to be looked at will include, Senegalese Cinema, women in photography, race and gender in performance art, representing women on film, women and genre, Women and horror, women and action, Australian Visual Culture, Aboriginal female film makers, remembering the slave trade, post-colonialism, neo-colonialism and representation, how we define `white'.
- UXS-3062: Film Distribution & Marketing (20) (Semester 1)
- LXF-3106: French Cinema since 1960 (20) (Semester 2) In chronological terms, this course follows on from module LXF2104 French Cinema 1895-1950. However, students who have not taken LXF2104 or have not previously studied cinema are more than welcome to take this module. This course will focus on French cinema from the New Wave period of the 1950s and 1960s to the new millennium. Through analysis of films by four different directors from four different decades, key cinematic trends will be identified, analysed and contextualized. Key trends / periods to be studied include 1950s/60s New Wave cinema, the "cinéma du look" of the 1980s, and the renewal of social and political cinema in France since 1995. This will expose students to key concepts in film studies and encourage critical reflection on how the range of techniques utilised by a director contribute to cinematic meaning. The films studied will be situated both in relation to cinematic and political trends contemporary to their production. Key texts Austin, Guy. 1996. Contemporary French Cinema: An Introduction . (Manchester and New York: Manchester University Press). Ezra, Elizabeth. 2004. European Cinema (Oxford and New York: Oxford University Press). Hayward, Susan. 2005 (or 1993). French National Cinema, (London and New York: Routledge). This book is available on the library website as an e-book: click here. Hayward , Susan and Ginette Vincendeau (eds.). 2002. French Film: Texts and Contexts (London and New York: Routledge). Hjort, Mette and Scott Mackenzie. 2000. Cinema and Nation (London and New York: Routledge). See chs. 4-7, esp. Ch.6 on 'Framing National Cinemas' by Susan Hayward. This book is available via the library website as an e-book: click here. Kline, T. Jefferson. 2010. Unravelling French Cinema (Oxford: Wiley-Blackwell). Available as an e-book via the Bangor University website: http://www.bangor.eblib.com/patron/FullRecord.aspx?p=485677. Powrie, Phil (ed.). 1999. French cinema in the 1990s : continuity and difference (Oxford: Oxford University Press). Powrie, Phil and Keith Reader (eds.). 2002. French Cinema: A Student's Guide (London: Arnold). See esp. pp. 3-53. This book is available on the library website as an e-book: click here. Any other learning resources The core films studied are Jean-Luc Godard's A Bout de souffle (1960), Jean-Luc Godard's Week-end (1967), Claude Chabrol's Le Boucher (1970), Luc Besson's Subway, Jacques Martineau and Olivier Ducastel's Drôle de Félix (1999) and Nicolas Philibert's Etre et avoir (2002) and Michel Haznavicius' The Artist (2011).