Film History 2023-24
School Of Arts, Culture And Language
Module - Semester 2
Understanding and appreciating the key moments in film history which helped to shape film as we know it today.
Lecture topics include Early Silent Cinema, Soviet Montage, German Expressionism, Surrealism, Classical Hollywood Cinema, Italian Neorealism, the French New Wave, India’s Parallel Cinema, Third Cinema, the Blockbuster and the LA Rebellion.
Screenings will likely include Le Voyage dans la Lune (Georges Méliès, 1902); The Consequences of Feminism (Alice Guy-Blaché, 1906); Battleship Potemkin (Sergei Eisenstein, 1925); Das Cabinet des Dr. Caligari (Robert Wiene, 1920); Un Chien Andalou (Luis Buñuel & Salvador Dalí, 1929); L'âge d'or (Luis Buñuel, 1930); Casablanca (Michael Curtiz, 1941); Bicycle Thieves (Vittorio De Sica, 1948); Pather Panchali (Satyajit Ray, 1955); Cléo de 5 à 7 (Agnès Varda, 1962); Memories of Underdevelopment (Tomás Gutiérrez Alea, 1968); E.T. the Extra-Terrestrial (Steven Spielberg, 1982); and Daughters of the Dust (Julie Dash, 1991).
Excellent To achieve Grade A the assessment must: Demonstrate comprehensive knowledge and detailed understanding of the subject area; Demonstrate extensive background study; Be well structured and highly focused; Contain logically presented and defended arguments; Be free of factual/computational errors; Include significant elements of original interpretation; Demonstrate an ability to identify, develop and present new links between topics; Include new approaches to analysing and/or explaining a problem; and Be presented to very high standards with very accurate communication.
Good To achieve Grade B the assessment must: Demonstrate strong knowledge and understanding of most of the subject area; Demonstrate evidence of background study; Be well structured and focused; Contain coherently presented arguments; Be mostly free of factual/computational errors; Include some elements of original interpretation; Describe well known links between topics; Analyse and/or explain problems using existing methods/approaches; and Be presented to high standards with accurate communication.
To achieve Grade C the assessment must: Demonstrate knowledge of key areas/principles; Have some, if only limited, evidence of background study; Be focused on the question (assessment brief) with only some irrelevant material and weaknesses in structure; Attempt to present relevant and logical arguments; Not contain a large number of factual/computational errors; Describe major links between topics; Attempt to analyse and/or explain problems; and Be free of major weaknesses in presentation and accuracy.
Threshold To achieve Grade D the assessment must: Demonstrate knowledge of some key areas/principles; Have some, if only limited, evidence of background study; Attempt to present an answer on the question (assessment brief) with only some irrelevant material and weaknesses in structure; Attempt to present relevant and coherent arguments; Not contain a large number of factual/computational errors; Describe some links between topics; Provide some analysis and/or explanation of problems; and Demonstrate an attempt to avoid major weaknesses in presentation and accuracy.
- Employ appropriate technical vocabulary for analysing the moving image from a range of theoretical perspectives.
- Idenfity and describe generic and narrative structures used in film.
- Identify the key movements and developments in the production and distribution of the moving image across a range of cultures, genres, and film producing nations.
- Recognise, analyse, and understand the a variety of film forms within cultural and narrative contexts.
For the duration of the seminar, you will be in charge. You will work in a group discussing that week's film with the rest of the class. You will be marked as a group on such elements as sharing participation, use of audiovisual resources, eye contact and research. Students who feel unable to contribute to a group presentation can submit theirs as a podcast or other form of oral presentation (e.g. Panopto recorded presentation).
A written essay (1,500 words) or audiovisual equivalent (e.g., short film or podcast) on one of the film movements discussed.
Weekly Reading and Seminar Logbook. Detail sufficient to convey (e.g. 100 words per element) the four elements of each week: lecture, screening, seminar and reading..