Modiwl UXS-3006:
Political Cinema & Television

Ffeithiau’r Modiwl

Rhedir gan School of Music and Media

20 Credyd neu 10 Credyd ECTS

Semester 2

Trefnydd: Dr Gregory Frame

Amcanion cyffredinol

This module will explore, in the broadest sense, politics in film and television: how film and television can be understood politically (i.e. how they say particular things about the societies they represent); how they have represented and, in some cases, commented upon specific political events and changes in the US, UK and further afield; how certain films and film movements have been produced in order to act as agents of political change and activism; how film and television have addressed questions of identity politics, particularly race and sexuality; how film and television have represented the democratic process itself. We will be looking at different genres, modes and styles to examine how we can understand the interaction of film, television and politics.

Cynnwys cwrs

Topics that will be covered in this module include: Marxist film theory; political genres of filmmaking (e.g. thriller, satire, documentary); Third Cinema; European art cinema; American independent cinema; representations of democracy and the political process in the US, UK and Denmark; identity politics in film and television; film and television directors/creators/producers including Ken Loach, Alan Pakula, Aaron Sorkin, Jean-Luc Godard, Bernardo Bertolucci, Jafar Panahi, Debra Granik, Kelly Reichardt, Armando Iannucci, Joshua Oppenheimer, Michael Moore, Leni Riefenstahl, John Grierson, Jonathan Lynn

Meini Prawf

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Threshold: 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.

da

Good: 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.

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Excellent: 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. The student will be able to provide a coherent and well-argued essay using relevant theory and criticism introduced on the module.

  2. The student will have developed an understanding of, and an ability to critique, the generic traditions from which much political film and television are drawn.

  3. The student will be able to understand and critically evaluate the major political approaches that have been taken in the study of film and television.

  4. The student will be able to combine these readings with close textual analysis to articulate the specific political viewpoint/s of particular films and television programmes.

  5. The student will be able to apply these approaches in order to conduct political readings of films and television programmes.

  6. The student will be able to critically evaluate and historicise political approaches to film and television.

Dulliau asesu

Math Enw Disgrifiad Pwysau
TRAETHAWD A 2000-word essay that addresses the theoretical background of the module. You should apply ONE week’s set reading to a close analysis of its corresponding module film. 40
TRAETHAWD A 3000-word essay. Answer one of the set questions. 60

Strategaeth addysgu a dysgu

Oriau
Workshop

1 x 2 hour group workshop x 11 weeks

22
Private study 134
Lecture

1 hour formal lecture x 11 weeks

11
 

1 x 3 hours screening x 11 weeks

33

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.
  • 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.

Adnoddau

Goblygiadau o ran adnoddau ar gyfer myfyrwyr

Bruzzi, Stella, New Documentary (2nd edition) (London: Routledge, 2006). Cahiers du Cinema editors, ‘John Ford’s Young Mr Lincoln’, in Bill Nichols (ed.) Movies and Methods: An Anthology (Berkeley: University of California Press, 1976), pp. 493-528. Comolli, Jean-Louis and Jean Narboni, ‘Cinema/Ideology/Criticism’, in Movies and Methods, pp. 22-30. Cook, David, Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam (Berkeley: University of California Press, 2000). Frame, Gregory, The American President in Film and Television: Myth, Politics and Representation (Oxford: Peter Lang, 2014). Friedman, Lester D. (ed.), American Cinema of the 1970s: Themes and Variations (Oxford: Berg, 2007). Gray, Jonathan, Jeffrey P. Jones and Ethan Thompson (eds.) Satire TV: Politics and Comedy in the Post-Network Era (New York: New York University Press, 2009). Guneratne, Anthony R. and Wimal Dissanayake, Rethinking Third Cinema (London: Routledge, 2003). Fielding, Steven, A State of Play: British Politics on Screen, Stage and Page from Anthony Trollope to The Thick of It (London: Bloomsbury, 2014). Hill, John et al, ‘The Prospects for Political Cinema Today’, Cineaste 17:1 (2011), pp. 6-17. Jameson, Fredric, The Geopolitical Aesthetic: Cinema and Space in the World System (London: British Film Institute, 1992). Kennedy, Liam and Stephen Shapiro (eds.) The Wire: Race, Class and Genre (Ann Arbor: University of Michigan Press, 2012). Lev, Peter, American Films of the 70s: Conflicting Visions (Austin: University of Texas Press, 2000). McCabe, Janet, The West Wing (Detroit: Wayne State University Press, 2012). Ortner, Sherry B., Not Hollywood: Independent Cinema at the Twilight of the American Dream (London: Duke University Press, 2013). Solanas, Fernando and Octavio Getino, ‘Towards a Third Cinema’, in Movies and Methods, pp. 44-64. Williams, Linda, On the Wire (Durham: Duke University Press, 2014). Winston, Brian (ed.) The Documentary Film Book (Basingstoke: Palgrave Macmillan, 2013). Core Viewing: The Act of Killing (Joshua Oppenheimer, 2012) All the President’s Men (Alan Pakula, 1976) The Battle of Algiers (Gillo Pontecorvo, 1966) The Battle of Chile (Patricio Guzman, 1975) Blood of the Condor (Jorge Sanjines, 1969) Bowling for Columbine (Michael Moore, 2002) The Conversation (Francis Ford Coppola, 1974) The Daily Show (Comedy Central, 1999- ) Fahrenheit 9/11 (Michael Moore, 2004) The Hour of the Furnaces (Fernando Solanas and Octavio Getino, 1968) In the Loop (Armando Iannucci, 2009) Inside Job (Charles Ferguson, 2010) Klute (Alan Pakula, 1971) The Look of Silence (Joshua Oppenheimer, 2014) Memories of Underdevelopment (Tomas Gutierrez Alea, 1968) Night Mail (John Grierson, 1936) Olympia (Leni Riefenstahl, 1938) The Parallax View (Alan Pakula, 1974) That Was the Week that Was (BBC, 1962-63) The Thick Of It (Armando Iannucci, 2005-12) Three Days of the Condor (Sidney Pollack, 1975) Saturday Night Live (NBC, 1975- ) Shoah (Claude Lanzmann, 1975) Taking Liberties (Chris Atkins, 2007) The Spirit of ’45 (Ken Loach, 2013) This is Not a Film (Jafar Panahi, 2012) Treme (David Simon, 2010-13) Triumph of the Will (Leni Riefenstahl, 1935) Veep (Armando Iannucci, 2012- ) The Wire (David Simon, 2002-2008) Yes Minister (Jonathan Lynn, 1980-88)

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