Rhedir gan School of Languages, Literatures, Linguistics and Media
20.000 Credyd neu 10.000 Credyd ECTS
Trefnydd: Dr Gregory Frame
This module aims to broaden the students' coverage and understanding of the ‘canon’ in film. What are the criteria on which we base or judgement of cinema's greatest works? Who gets to decide? The module will also provide them with some of the necessary skills to conduct in-depth study of film texts. The module comprises two strands:
Landmarks: viewing and critical placement of a selection of landmarks in film history (films and skills taught complement those on Film Language and Film History). Screenings will survey key moments in technical and artistic development of film and its establishment as a global artform, and the lectures and seminars will explore the critical history that has established these films as landmarks.
Study skills: introduction to the skills necessary to pursue film and television scholarship. This strand of the module includes an individually constructed viewing programme, an introduction to specialised research in film using the university library’s physical and electronic resources.
Films might include: The Birth of a Nation (D.W. Griffith, 1915), Sunrise: A Song of Two Humans (F.W. Murnau, 1927), The Passion of Joan of Arc (Carl Theodore Dreyer, 1928), Napoleon (Abel Gance, 1928), Triumph of the Will (Leni Riefenstahl, 1935), La Regle de Jeu (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Letter from an Unknown Woman (Max Ophuls, 1948), Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952), The Searchers (John Ford, 1955), Pather Panchali (Satyajit Ray, 1955), Wild Strawberries (Ingmar Bergman, 1957), Psycho (Alfred Hitchcock, 1960), 8 ½ (Federico Fellini, 1963) The Spirit of the Beehive (Victor Erice, 1973), The Harder They Come (Perry Henzell, 1973), Picnic at Hanging Rock (Peter Weir, 1975), Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), Heaven’s Gate (Michael Cimino, 1980), The Last Temptation of Christ (Martin Scorsese, 1988), Festen (Thomas Vinterberg, 1995), In the Mood For Love (Wong Kar Wai, 2000), Mulholland Drive (David Lynch, 2001), Meek's Cutoff (Kelly Reichardt, 2010).
Topics might include: the origins of the feature film, archiving and film history, propaganda and art, issues of taste and judgement in film criticism, émigré directors in Hollywood, ‘international’ cinema and film criticism (India, Sweden, Spain, Jamaica, Australia, Denmark), the relationship between film theory and film criticism, censorship and controversy, critical rehabilitation of commercial failures, technological innovation and landmark status.
Submitted work is of an outstanding quality and excellent in one or more of the following ways: 1. Has originality of exposition with the student’s own thinking being readily apparent. 2. Provides clear evidence of extensive and relevant independent study. 3. Arguments are laid down with clarity and provide the reader with successive stages of consideration to reach conclusions
Submitted work is competent throughout and distinguished by superior style, approach and choice of supporting materials. It demonstrates: - Very good structure and logically developed arguments - Draws 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
Submitted work is competent throughout and occasionally distinguished by superior style, approach and choice of supporting materials. It demonstrates: - Good structure and logically developed arguments - At least in parts draws on material that has been sourced and assessed as a result of independent study, or in a way unique to the student - Assertions are, in the main, backed by evidence and reasoning - Accuracy and presentation in an appropriate academic style
Submitted work is adequate and shows an acceptable level of competence as follows: 1. Generally accurate but with omissions and errors. 2. Assertions are made without clear supporting evidence or reasoning. 3. Has structure but is lacking in clarity and therefore relies on the reader to make links and assumptions. 4. Draws on a relatively narrow range of material.
- The student will be able to contextualise individual films within a broader appreciation of history of cinema.
- The student will be able to combine these understandings with close textual analyses to articulate the aesthetic importance and significance of individual ‘landmark’ films.
- The student will understand the critical processes through which films become ‘canonised’: how a film’s reputation or status changes and evolves over time, who plays a role in this development (archivists and archives, distributors, film festivals, filmmakers, and the audience) and how a film becomes a ‘landmark’.
- The student will develop the skills necessary to research ‘landmark’ films (both within the parameters of the module’s screening programme and outside of it), understanding their contexts and changing critical reputations.
- The student will be able to explain, analyse and evaluate critical debates about particular films, filmmakers and film movements.
|LLYFR LOG NEU BORTFFOLIO||A portfolio of independent research about films in the canon not taught on the module.||60.00|
|TRAETHAWD||Discuss one module film's place in the canon.||40.00|
Strategaeth addysgu a dysgu
A broad introduction into the key critical, historical and contextual issues relating to the week's screening. Offers guidance and suggestions for aspects of the film and essential reading to focus upon in preparation for seminars.
Group discussion about key critical, historical and contextual issues relating to the week's screening and lecture, based on assigned essential reading. Students will be expected to prepare screening notes for their classmates based on their own research.
A key component of this module is developing the skills to research independently. The assessment (the film diary) is contingent upon this. It will be expected that the students conduct a great deal of wider reading, viewing and research outside of contact hours, with tutorial support.
Screening of a key text relating to the module's programme of learning. This will form the basis (in conjunction with the assigned essential reading) of the discussion in seminars.
- Llythrennedd - Medrusrwydd mewn darllen ac ysgrifennu drwy amrywiaeth o gyfryngau
- Defnyddio cyfrifiaduron - Medrusrwydd wrth ddefnyddio ystod o feddalwedd cyfrifiadurol
- Hunanreolaeth - Gallu gweithio mewn ffordd effeithlon, prydlon a threfnus. Gallu edrych ar ganlyniadau tasgau a digwyddiadau, a barnu lefelau o ansawdd a phwysigrwydd
- Archwilio - Gallu ymchwilio ac ystyried dewisiadau eraill
- Adalw gwybodaeth - Gallu mynd at wahanol ac amrywiol ffynonellau gwybodaeth
- Sgiliau Rhyngbersonol - Gallu gofyn cwestiynau, gwrando'n astud ar atebion a'u harchwilio
- Dadansoddi Beirniadol & Datrys Problem - Gallu dadelfennu a dadansoddi problemau neu sefyllfaoedd cymhleth. Gallu canfod atebion i broblemau drwy ddadansoddiadau ac archwilio posibiliadau
- Cyflwyniad - Gallu cyflwyno gwybodaeth ac esboniadau yn glir i gynulleidfa. Trwy gyfryngau ysgrifenedig neu ar lafar yn glir a hyderus.
- Gwaith Tîm - Gallu cydweithio'n adeiladol ag eraill ar dasg gyffredin, ac/neu fod yn rhan o dîm gweithio o ddydd i ddydd
- Dadl - Gallu cyflwyno, trafod a chyfiawnhau barn neu lwybr gweithredu, naill ai gydag unigolyn neu mewn grwˆp ehangach
- Hunanymwybyddiaeth & Ystyried - Bod yn ymwybodol o'ch cryfderau, gwendidau, nodau ac amcanion eich hun. Gallu adolygu ,cloriannu a myfyrio'n rheolaidd ar eich perfformiad eich hun ac eraill.
- Arweinyddiaeth - Gallu arwain a rheoli, datblygu cynlluniau gweithredu ac amcanion, cynnig arweiniad a chyfarwyddyd i eraill, ac ymdopi â'r pwysau sy'n gysylltiedig ag awdurdod o'r fath
Sgiliau pwnc penodol
- Artistic engagement and ability to articulate complex ideas in oral and written forms. (NAWE Creative Writing Benchmark Statement 3.2).
- Awareness of how different social and cultural contexts affect the nature of language and meaning (English Benchmark Statement 3.2).
- The ability to synthesize information from various sources, choosing and applying appropriate concepts and methods (English Benchmark Statement 3.3).
- Ability to formulate and solve problems, anticipate and accommodate change, and work within contexts of ambiguity, uncertainty and unfamiliarity (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
- Ability to engage in processes of drafting and redrafting texts to achieve clarity of expression and an appropriate style. (English Benchmark Statement 3.3; NAWE Creative Writing Benchmark Statement 3.2).
- Ability to gather information, analyse, interpret and discuss different viewpoints (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
- Information technology (IT) skills broadly understood and the ability to access, work with and evaluate electronic resources (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
Goblygiadau o ran adnoddau ar gyfer myfyrwyr
As it is currently envisaged, students will not need to purchase any core texts for the module.
On film canonisation
‘The Greatest Films of All Time’, Sight and Sound (September 2012); Ian Christie, ‘Canon fodder’, Sight and Sound (December 1992); Ian Christie, ‘The Rules of the Game’, Sight and Sound (August 2001); Andy Medhurst, ‘But I’m Beautiful’, Sight and Sound (July 2002); Peter Wollen, ‘Films: Why Do Some Survive and Others Disappear’, Sight and Sound (May 1993); Paul Schrader, ‘Canon Fodder’, Film Comment (September-October 2006)
Robert Lang (1994) The Birth of a Nation: D.W. Griffith, Director, New Brunswick: Rutgers University Press; Melvyn Stokes (2007) D.W. Griffith’s The Birth of a Nation: A History of the “Most Controversial Motion Picture of All Time”, New York: Oxford University Press; Paul McEwan (2015) The Birth of a Nation, London: BFI/Palgrave; Lucy Fischer (1998) Sunrise: A Song of Two Humans, London: BFI/Palgrave; Steven L. Lipkin (1977) ‘Sunrise: A Film Meets Its Public’, Quarterly Review of Film Studies 2:3, pp. 339-55; Dorothy B. Jones (1955) ‘Sunrise: A Murnau Masterpiece’, The Quarterly of Film, Radio and Television, 9:3, pp. 238-62; T.A. Kinsey (2001) ‘The Mysterious History and Restoration of Dreyer’s The Passion of Joan of Arc.’ The Moving Image: The Journal of the Association of Moving Image Archivists 1.1, 94–107; Tony Pipolo (1988) ‘The Spectre of Joan of Arc: Textual Variations in the Key Prints of Carl Dreyer’s Film.’ Film History 2, 301–324; Paul Cuff (2016) A Revolution for the Screen: Abel Gance’s Napoleon, Amsterdam: Amsterdam University Press; Paul Cuff (2016) ‘A monumental reckoning: how Abel Gance’s Napoleon was restored to full glory, Sight and Sound, December 2016; Nelly Kaplan (1994) Napoleon, London: British Film Institute; Kevin Brownlow (1983) Napoleon: Abel Gance’s Classic Film, London: Cape; Hilmar Hoffmann (1996) The Triumph of Propaganda: Film and national socialism, 1933-1945, Providence: Berghahn Books; Alan Sennett (2014) ‘Film Propaganda: Triumph of the Will as a case study’, Framework: The Journal of Cinema and Media, 55:1, pp. 45-65; David B. Hinton (2000) The Films of Leni Riefenstahl, Lanham: Scarecrow Press; V.F. Perkins (2012) La regle de jeu, London: British Film Institute; Raymond Durgnat (1974) Jean Renoir, Berkeley: University of California Press; Alistair Phillips and Ginette Vincendeau (2013) A Companion to Jean Renoir, London: Wiley-Blackwell; Virginia Wright-Wexman (ed.) (1986) Letter from an Unknown Woman, New Brunswick: Rutgers University Press; Lutz Bacher (1996) Max Ophuls in the Hollywood Studios, New Brunswick: Rutgers University Press; Paul Willemen (ed.) (1978) Ophuls, London: British Film Institute; Earl J. Hess and Pratibha A. Dabholkar (2009) Singin’ in the Rain: The Making of an American Masterpiece, Lawrence: University of Kansas Press; Peter Wollen (1992) Singin’ in the Rain, London: British Film Institute; Edward Buscombe (2000) The Searchers, London: British Film Institute; Arthur M. Eckstein and Peter Lehman (2004) The Searchers: Essays and Reflections on John Ford’s Classic Western, Detroit: Wayne State University Press; Keya Ganguly (2010) Cinema, Emergence and the Films of Satyajit Ray, Berkeley: University of California Press; Suranjan Ganguly (2007) Satyajit Ray: In Search of the Modern, Lanham: Scarecrow Press; Darius Cooper (2000) The Cinema of Satyajit Ray: Between tradition and modernity, Cambridge: Cambridge University Press; Philip and Kersti French (1995) Wild Strawberries, London: British Film Institute; Robin Wood (2013) Ingmar Bergman, Detroit: Wayne State University Press; Jesse Kalin (2003) The Films of Ingmar Bergman, Cambridge: Cambridge University Press; David Thomson (2009) The Moment of Psycho: How Hitchcock Taught America to Love Murder, New York: Basic Books; Robin Wood (2002) Hitchcock’s Films Revisited, New York: Columbia University Press; Raymond Durgnat (2010) A Long Hard Look at Psycho, London: BFI; Tullio Kezich (2010) Federico Fellini: The Films, New York: Rizzoli; Peter Bondanella (2002) The Films of Federico Fellini, Cambridge: Cambridge University Press; D.A Miller (2008) 8 ½ , London: British Film Institute; Maria M. Delgado and Robin Fiddian (2013) Spanish Cinema 1973-2010: Auteurism, Politics, Landscape and Memory, Manchester: Manchester University Press; Linda C. Ehrlich (2007) The Cinema of Victor Erice: An Open Window, Lanham: Scarecrow Press; Carmen Arocena (1996) Victor Erice, Madrid: Ediciones Catedra; Mbye B. Cham (1992) Ex-iles: essays on Caribbean Cinema, Africa World Press; Jonathan Rayner (2003) The Films of Peter Weir, London: Continuum; Roslynn D. Haynes (1998) Seeking the Centre: The Australian Desert in Literature, Art and Film. Cambridge, UK: Cambridge University Press; Noel King, Constantine Verevis, and Deane Williams (2013) Australian Film Theory and Criticism Vol. 1, Critical Positions Bristol, UK: Intellect; Marion Schmid (2010) Chantal Akerman, Manchester: Manchester University Press; Janet Bergstrom (2015) ‘Keeping a distance: Chantal Akerman’s Jeanne Dielman’, Sight and Sound, October 2015; Anthony Todd (2012) Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood, London: I.B. Tauris; Warren Buckland (2003) “‘A Sad, Bad Traffic Accident’: The Televisual Prehistory of David Lynch’s Film Mulholland Dr.” New Review of Film and Television Studies 1.1, 131–147; Michel Chion. David Lynch. Translated by Robert Julian. London: BFI, 2006; Leighton Grist (2013) The Films of Martin Scorsese 1978-1999: Authorship and Context II, London: Palgrave Macmillan; Richard Kelly (2000) The Name of this Book is Dogme 95, London: Faber and Faber; Jack Stevenson (2003) Dogme Uncut: Lars von Trier, Thomas Vinterberg and the Gang that Took On Hollywood, Santa Monica: Santa Monica Press; Shari Roman (2001) Digital Babylon: Hollywood, Indiewood and Dogme 95, LA: National Book Network.
Cyrsiau sy’n cynnwys y modiwl hwn
Gorfodol mewn cyrsiau:
- W620: BA Film Studies year 1 (BA/FLM)
- W62B: BA Film Studies (4 year with Incorporated Foundation) year 1 (BA/FLM1)
- T125: BA Film Studies and Chinese year 1 (BA/FSCH)
- 3P3Q: BA Film Studies and English Literature year 1 (BA/FSEL)
- PQ3J: BA Film Studies and English Language year 1 (BA/FSELAN)
- PR31: BA Film Studies and French year 1 (BA/FSFR4)
- W622: BA Film Studies with Game Design year 1 (BA/FSGD)
- PR32: BA Film Studies and German year 1 (BA/FSGER)
- P3V1: BA Film Studies and History year 1 (BA/FSH)
- P0R3: BA Film Studies and Italian year 1 (BA/FSI)
- 2W89: BA Film Studies (with International Experience) year 1 (BA/FSIE)
- PR34: BA Film Studies and Spanish year 1 (BA/FSSPAN4)
- P3W5: BA Film Studies with Theatre and Performance year 1 (BA/FSTP)
- WW36: BA Music and Film Studies year 1 (BA/MUSFS)
- W6W8: BA Professional Writing & Film year 1 (BA/PWF)
- VP23: BA Welsh History and Film Studies year 1 (BA/WHFS)
Opsiynol mewn cyrsiau:
- T103: BA Chinese and Creative Studies year 1 (BA/CHCS)
- WPQ0: BA Creative Studies year 1 (BA/CST)
- WPQB: BA Creative Studies (4 year with Incorporated Foundation) year 1 (BA/CST1)
- WQ93: BA Creative Stds & English Lang. year 1 (BA/CSTEL)
- WR91: BA French and Creative Studies year 1 (BA/CSTFR)
- WR92: BA German and Creative Studies year 1 (BA/CSTG)
- WR93: BA Italian and Creative Studies year 1 (BA/CSTITAL)
- WW93: BA Creative Studies and Music year 1 (BA/CSTMUS)
- WR94: BA Spanish & Creative Studies year 1 (BA/CSTSP)
- PP53: BA Journalism and Media Studies year 1 (BA/JMS)
- PP5B: BA Journalism & Media Studies (4yr with Incorp Foundation) year 1 (BA/JMS1)
- P306: BA Media Studies year 1 (BA/MS)
- P31B: BA Media Studies (4 year with Incorporated Foundation) year 1 (BA/MS1)
- P3R1: BA Media Studies with French year 1 (BA/MSFR)
- P3R2: BA Media Studies with German year 1 (BA/MSG)
- P310: BA Media Studies with Game Design year 1 (BA/MSGD)
- 8U76: BA Media Studies (with International Experience) year 1 (BA/MSIE)
- P3R3: BA Media Studies with Italian year 1 (BA/MSIT)
- P3R4: BA Media Studies with Spanish year 1 (BA/MSSP)
- P3R5: BA Media Stud with Spanish (with International Experience) year 1 (BA/MSSPIE)
- P3WL: BA Media Studies with Theatre and Performance year 1 (BA/MSTP)
- P3WB: BA Media Stud with Theatre & Perform (4yr with Incorp Found) year 1 (BA/MSTP1)
- W839: BA Professional Writing with Game Design year 1 (BA/PWGD)
- P3W9: BA Professional Writing and Media year 1 (BA/PWM)