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Modiwl UXS-2064:
Film Theory

Ffeithiau’r Modiwl

Rhedir gan School of Languages, Literatures, Linguistics and Media

20 Credyd neu 10 Credyd ECTS

Semester 2

Trefnydd: Dr Gregory Frame

Amcanion cyffredinol

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.

Cynnwys cwrs

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.

Meini Prawf


C- to B+

Submitted work is competent throughout and may be distinguished by superior style, approach and choice of supporting materials. It:

  1. Demonstrates good or very good structure and logically developed arguments.
  2. 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.
  3. Assertions are backed by evidence and sound reasoning.
  4. Accuracy and presentation in an appropriate academic style.


D- to D+

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.


A- to A*

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.

Canlyniad dysgu

  1. LO5: Students will be able to provide a close textual analysis of a film text using the theories presented on the module

  2. LO1: The student will be able to distinguish the pathway and history of film studies as a discipline that is distinct from any other.

  3. LO2: The student will be able to demonstrate an understanding of the major theoretical approaches to film studies.

  4. LO3: The student will be able to evaluate how conceptual arguments can be used to shape a reading of a film text.

  5. LO4: Students will be able to explore the interplay between film form and meaning.

Dulliau asesu

Math Enw Disgrifiad Pwysau
Clip analysis 40
Whole film analysis 60

Strategaeth addysgu a dysgu


a 1-hour formal lecture (x 11 weeks)




Film screenings

Private study 145

Sgiliau Trosglwyddadwy

  • Llythrennedd - Medrusrwydd mewn darllen ac ysgrifennu drwy amrywiaeth o gyfryngau
  • 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.
  • 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.


Goblygiadau o ran adnoddau ar gyfer myfyrwyr

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.

Rhestrau Darllen Bangor (Talis)

Rhestr ddarllen

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

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