Rhedir gan School of Arts, Culture and Language

20.000 Credyd neu 10.000 Credyd ECTS

Semester 1

Trefnydd: Dr Gregory Frame

This module will explore the history of Film Criticism through a focus on its key practitioners. It will consider film criticism’s evolution from the trade press, through newspapers, popular magazines to the blogosphere, as well as academic film journals and magazines. It will focus on canonical pieces of film writing and journalism in relation to a series of films and/or genres to demonstrate the development of the form, its importance to film’s position in popular visual culture, and the significance of certain critics in the birth and growth of Film Studies as an academic discipline. This module equips students with the knowledge and understanding of Film Criticism that they will then apply to their own work, producing a portfolio of critical reviews written/produced in the style/s of particular publications.

Examination of the film criticism of some of the following: Pauline Kael, Andrew Sarris, James Agee, Andre Bazin, Manny Farber, James Baldwin, Andrew Britton, Robin Wood, V.F. Perkins, Paul Schrader, Francois Truffaut, Sergei Eisenstein, Jean-Luc Godard, Philip French, David Thomson, Richard Corliss, Jonathan Rosenbaum, J Hoberman, AO Scott, Manohla Dargis, Susan Sontag, Girish Shambu, Robert Warshow.

C- i C+

Good (C- to C+) 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

da

Very Good (B- to B+) 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

trothwy

Threshold (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

ardderchog

Excellent (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

1. You will be able to evaluate the history and development of Film Criticism.

2. You will be able to design and develop pieces of film criticism tailored to specific requirements and for particular audiences.

3. You will be able to interrogate, evaluate and critique pieces of Film Criticism, both orally and in writing.

4. You will be able to appraise the differences in tone, register and intention of Film Criticism written for different audiences.

5. You will be able to formulate close textual analysis of films in relation to specific critical approaches and perspectives.

		Oriau
	Screening of a film in relation to a piece (or pieces) of film criticism (first five weeks of semester)	10
Workshop	10 2-hour workshops throughout the semester. In the first half of the semester, these will focus on the history and development of film criticism in relation to particular forms and styles, and its key practitioners, in conjunction with discussion of the week's screening. In the second half of the semester, students will take what they have learned in the first half of the semester and, with close guidance, develop their own portfolios of film criticism.	20
Private study	Students are required to read and view widely on this module, both in preparation for lectures, screenings and seminars, and in the research and preparation for their assessments. The private study time should be spent doing this, with guidance and advice available from tutors.	170

• 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
• 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.
• 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.

• An understanding of creative and critical processes, and of the wide range of skills inherent in creative writing. (NAWE Creative Writing Benchmark Statement 3.1).
• Knowledge of a wide range of canonical English texts, providing a confident understanding of literary traditions as well as the confidence to experiment and challenge conventions when writing creatively. (English Benchmark Statement 3.1).
• An awareness of writing and publishing contexts, opportunities and audiences in the wider world (NAWE Creative Writing Benchmark Statement 3.1).
• Artistic engagement and ability to articulate complex ideas in oral and written forms. (NAWE Creative Writing Benchmark Statement 3.2).
• Ability to connect creative and critical ideas between and among forms, techniques and types of creative and critical praxis. (NAWE Creative Writing Benchmark Statement 3.2; English 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).
• Intellectual skills shared with other disciplines – research and exploration, reasoning and logic, understanding, critical judgement, assimilation and application
• Skills of communication and interaction – oral and written communication, public presentation, team-working and collaboration, awareness of professional protocols, sensitivity, ICT skills, etc.
• Skills of personal management – self-motivation, self-critical awareness, independence, entrepreneurship and employment skills, time management and reliability, organisation, etc.

Goblygiadau o ran adnoddau ar gyfer myfyrwyr

None

Rhestrau Darllen Bangor (Talis)

http://readinglists.bangor.ac.uk/modules/uxs-3064.html

Rhestr ddarllen

The reading list will be drawn as far as possible from material Bangor already has, although some newer books may need to be purchased.

Gorfodol mewn cyrsiau:

• W620: BA Film Studies year 3 (BA/FLM)
• W62B: BA Film Studies (4 year with Incorporated Foundation) year 3 (BA/FLM1)
• W62P: BA Film Studies with Placement Year year 3 (BA/FLMP)
• T125: BA Film Studies and Chinese year 4 (BA/FSCH)
• 3P3Q: BA Film Studies and English Literature year 3 (BA/FSEL)
• PQ3J: BA Film Studies and English Language year 3 (BA/FSELAN)
• PR31: BA Film Studies and French year 4 (BA/FSFR4)
• PR32: BA Film Studies and German year 4 (BA/FSGER)
• P3V1: BA Film Studies and History year 3 (BA/FSH)
• P0R3: BA Film Studies and Italian year 4 (BA/FSI)
• 2W89: BA Film Studies (with International Experience) year 3 (BA/FSIE)
• W610: BA Film Studies and Production year 3 (BA/FSP)
• PR34: BA Film Studies and Spanish year 4 (BA/FSSPAN4)
• R803: BA Modern Languages & Film Studies year 4 (BA/MLFS)
• WW36: BA Music and Film Studies year 3 (BA/MUSFS)
• W6W8: BA Professional Writing & Film year 3 (BA/PWF)
• VP23: BA Welsh History and Film Studies year 3 (BA/WHFS)

Opsiynol mewn cyrsiau:

• W622: BA Film Studies with Game Design year 3 (BA/FSGD)