Run by School of Languages, Literatures, Linguistics and Media
20.000 Credits or 10.000 ECTS Credits
Organiser: Dr Gregory Frame
Overall aims and purpose
This module will introduce you to a wide range of theoretical debates that have impacted upon film studies as a discipline. We will examine topics such as auteur theory, star theory, genre, feminism, realism, Marxism, postmodernism, race, sexuality and history. This module is equally applicable for those studying film practice and film as an academic discipline. As well as providing a firm grounding in major theoretical debates in film studies, this module prepares you to think and write about film using appropriate critical models. Students will work with both films and theoretical writings.
Topics that will be covered in this module may include: auteur theory, star theory, genre theory, feminism, ideology, postmodernism, race, sexuality, history and realism. Stars and directors who may be examined include: Orson Welles, Douglas Sirk, William Wyler, John Ford, Todd Haynes, Spike Lee, Oliver Stone, Gus van Sant, Bette Davis, Henry Fonda, River Phoenix, Keanu Reeves, Rita Hayworth.
C- to B+
Submitted work is competent throughout and may be distinguished by superior style, approach and choice of supporting materials. It:
- Demonstrates good or very good structure and logically developed arguments.
- Draws at least in parts on material that has been sourced and assessed as a result of independent study, or in a way unique to the student.
- Assertions are backed by evidence and sound reasoning.
- Accuracy and presentation in an appropriate academic style.
D- to D+
Submitted work is adequate and shows an acceptable level of competence as follows:
- Generally accurate but with omissions and errors.
- Assertions are made without clear supporting evidence or reasoning.
- Has structure but is lacking in clarity and therefore relies on the reader to make links and assumptions.
- Draws on a relatively narrow range of material.
A- to A*
Submitted work is of an outstanding quality and excellent in one or more of the following ways:
- Has originality of exposition with the student’s own thinking being readily apparent.
- Provides clear evidence of extensive and relevant independent study.
- Arguments are laid down with clarity and provide the reader with successive stages of consideration to reach conclusions.
LO5: Students will be able to provide a close textual analysis of a film text using the theories presented on the module
LO1: The student will be able to distinguish the pathway and history of film studies as a discipline that is distinct from any other.
LO2: The student will be able to demonstrate an understanding of the major theoretical approaches to film studies.
LO3: The student will be able to evaluate how conceptual arguments can be used to shape a reading of a film text.
LO4: Students will be able to explore the interplay between film form and meaning.
|Whole film analysis||60.00|
Teaching and Learning Strategy
a 1-hour formal lecture (x 11 weeks)
- Literacy - Proficiency in reading and writing through a variety of media
- Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
- Exploring - Able to investigate, research and consider alternatives
- Information retrieval - Able to access different and multiple sources of information
- Inter-personal - Able to question, actively listen, examine given answers and interact sensitevely with others
- Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
- Presentation - Able to clearly present information and explanations to an audience. Through the written or oral mode of communication accurately and concisely.
- Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting
- Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others
Resource implications for students
One of the essential readings for each week is taken from The Oxford Guide to Film Studies, so this is a recommended purchase for students.
Talis Reading listhttp://readinglists.bangor.ac.uk/modules/uxs-2064.html
André Bazin, ‘The Evolution of the Language of Cinema’, What is Cinema? Volume 1, ed./trans Hugh Gray (Berkeley: University of California Press, 1967), pp.23-40.
Baudry, Leo and Cohen, Marshall (eds) (2009), Film Theory and Criticism (5th edition) New York / Oxford: OUP
Benshoff, Harry M, America on film: representing race, class, gender, and sexuality at the movies (Oxford: Wiley-Blackwell 2009).
Fuchs, Cynthia, ‘The Buddy Politic’ in Steve Cohan and Ina Rae Hark (eds.) Screening the Male (London: Routledge 1992), pp.194-212.
Bordwell, David, Narration in the Fiction Film (London: Methuen, 1985) Casetti, Franceso (1999), Theories of Cinema 1945-1995, Austin: University of Texas
Collins, Jim, Hilary Radner and Ava Preacher Collins (eds), Film Theory Goes to the Movies (London: Routledge, 1993).
Cook, Pam (ed.), The Cinema Book (London: British Film Institute, 1985). Second Edition.
David Bordwell, ‘Historical Poetics of Cinema’, in R. Barton Palmer (ed.), The Cinematic Text: Methods and Approaches (New York: AMS Press, 1989).
Ed Buscombe, ‘The Idea of Genre in the American Cinema’, Screen, 11: 2 (1970), pp.33-45.
Hill, John and Church-Gibson, Pamela (eds.), The Oxford Guide to Film Studies, Oxford: Oxford University Press
Hollows, Joanne, and Mark Jancovich (eds), Approaches to Popular Film (Manchester: Manchester University Press.
Jean-Luc Comolli and Jean Narboni, ‘Cinema/ideology/criticism’, Screen, 12: 1 (1971)
Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen 16: 3 (1979), pp.6-18.
Mast, Gerald, Marshall Cohen and Leo Braudy (eds), Film Theory and Criticism: Introductory Readings (New York: Oxford University Press, 1974 1995).
Peter Wollen, ‘The Auteur Theory’ in Signs and Meaning in the Cinema (London: Palgrave 1969)
Richard Dyer, ‘Stars as Types’ in Stars (London: BFI 1979), pp.53-98.
Stam, Robert (2000), Film Theory: An Introduction, Oxford: Blackwell
Stam, Robert and Miller, Toby (eds.), Film and Theory: An Anthology, Malden, Mass., USA, and Oxford, UK: Blackwell Publishers
Courses including this module
Compulsory in courses:
- Q3WP: BA Eng Lang with Film Studs year 2 (BA/ELFS)
- W620: BA Film Studies year 2 (BA/FLM)
- W62B: BA Film Studies (4 year with Incorporated Foundation) year 2 (BA/FLM1)
- T125: BA Film Studies and Chinese year 2 (BA/FSCH)
- P3W8: BA Film Studies and Creative Writing year 2 (BA/FSCW)
- 3P3Q: BA Film Studies and English Literature year 2 (BA/FSEL)
- PQ3J: BA Film Studies and English Language year 2 (BA/FSELAN)
- PR31: BA Film Studies and French year 2 (BA/FSFR4)
- W622: BA Film Studies with Game Design year 2 (BA/FSGD)
- PR32: BA Film Studies and German year 2 (BA/FSGER)
- P3V1: BA Film Studies and History year 2 (BA/FSH)
- P0R3: BA Film Studies and Italian year 2 (BA/FSI)
- 2W89: BA Film Studies (with International Experience) year 2 (BA/FSIE)
- PR34: BA Film Studies and Spanish year 2 (BA/FSSPAN4)
- P3W5: BA Film Studies with Theatre and Performance year 2 (BA/FSTP)
- V1W6: BA History with Film Studies year 2 (BA/HFS)
- V1W7: BA History with Film Studies with International Experience year 2 (BA/HFSIE)
- P310: BA Media Studies with Game Design year 2 (BA/MSGD)
- WW36: BA Music and Film Studies year 2 (BA/MUSFS)
- W6W8: BA Professional Writing & Film year 2 (BA/PWF)
- VP23: BA Welsh History and Film Studies year 2 (BA/WHFS)
Optional in courses:
- T103: BA Chinese and Creative Studies year 2 (BA/CHCS)
- WPQ0: BA Creative Studies year 2 (BA/CST)
- WPQB: BA Creative Studies (4 year with Incorporated Foundation) year 2 (BA/CST1)
- WQ93: BA Creative Stds & English Lang. year 2 (BA/CSTEL)
- WR91: BA French and Creative Studies year 2 (BA/CSTFR)
- WR92: BA German and Creative Studies year 2 (BA/CSTG)
- WR93: BA Italian and Creative Studies year 2 (BA/CSTITAL)
- WW93: BA Creative Studies and Music year 2 (BA/CSTMUS)
- WR94: BA Spanish & Creative Studies year 2 (BA/CSTSP)
- P306: BA Media Studies year 2 (BA/MS)
- P31B: BA Media Studies (4 year with Incorporated Foundation) year 2 (BA/MS1)
- 8U76: BA Media Studies (with International Experience) year 2 (BA/MSIE)
- W900: MArts Creative Practice year 2 (MARTS/CP)
- P308: MArts Media year 2 (MARTS/MED)
- W891: MArts Professional Writing year 2 (MARTS/PW)