Film Studies

This module introduces the idea of ‘classical Hollywood’ cinema and its role in the development of our understanding of film. Analysing Hollywood as an organising structure for film production, you will identify the production methods employed by the Hollywood studios, the production techniques and practices widely termed as the ‘classical Hollywood style’, and the economic rationale behind the establishment of Hollywood.

During the course of this module, you will look at the idea of film form and how it contributes to the meaning of a film. Considering various components such as narrative, cinematography, editing and sound, this module aims to answer the basic question of: What is a Film?

By covering a number of influential moments in the development of cinema, this module will enable you to identify and contextualise a range of film movements including early cinema and forms of exhibition, Soviet cinema, German Expressionist cinema, Surrealist cinema, documentary cinema, and others. You will also consider how such film movements may prefigure important technical and contextual strands of cinema today.

Building on from your learning in ‘Film Histories, Film Movements I’, this module will focus on a number of influential moments in the development of cinema from the second World War to the present. This will include a range of film movements that may include Italian neo-realism, the French ‘new wave’, Eastern European film movements, US Underground cinema, Antipodean cinema.

You will evaluate a range of critical approaches to film in relation to the social and cultural developments that informed and influenced them. Throughout the module, you will focus on key approaches such as film as art, film as mass culture, authorship, genre and ideology.

Focusing mainly on ‘Screen’ theory, feminism, race and film audiences, this module will allow you to continue your learning from ‘Critical Approaches to Film I’ and study a number of other critical approaches to film.

You will learn to distinguish between the distribution and exhibition sectors of the UK film industry, and to understand their vital roles. Studying the function of distribution companies within the film industry, and the processes of exhibition, a range of professional roles within these sectors will emerge, helping you to understand the work involved and to identify present challenges faced by the industries.

You will learn to write in a concise and entertaining manner in this module, acquiring the writing and editing skills necessary to undertake film reviews, features and interviews. Whilst the module will focus on film-related matters, the skills learned will be highly transferable into other journalistic realms.

Building upon several ideas covered in Year one, you will begin to take a more in depth look at the range of cinema produced across Asia. In addition to covering a variety of cinematic traditions from countries including India, China, Korea and Japan, you will also articulate the differences in aesthetic forms and strategies and critically assess the place of Asian cinemas in the increasingly global film industry.

Focusing on comedy films produced within British cinema, this module will enable you to identify different characteristics associated with various styles of British film comedy. You will also analyse formal strategies employed by comedy filmmakers and various performance techniques utilised by a range of comedic performers within British cinema.

The landscape of American film-making has been affected by a range of economic, social and cultural changes in recent years. This module will consider these tumultuous changes as well as address conflicting definitions of independence within a global marketplace and the importance of marketing strategies within contemporary film-making.

This module is designed to provide you with an introduction to the history of British cinema, its institutions, its stars and some of its production personnel.

This final module is designed to provide guidance and support throughout your dissertation research. The early part of this module will be delivered in the form of directed staff presentations followed by student discussions. Later, you will be allocated a dissertation supervisor who will engage in one on one supervisory sessions in the run up to student presentations. The latter part of the module will be based around your completion of a written dissertation directed by discussions of your approach with your supervisor.

You will study important examples of international comic strips, series and ‘graphic novels’. At a time of proliferating texts inspired by material introduced in comics, a section of the module will look at film and TV adaptations, evaluating the importance of comic-derived material to the modern media landscape. The unique ways in which comics can be said to create meanings will be highlighted, and you will experience designing a narrative with expert guidance. Themes studied may include: Comics and Childhood; The Graphic Novel Era: Comics ‘come of age’; Alan Moore; Comics, Ideology and Form: Case Study of 1970s British Comics; Fandom; Comics and Other Media.

This will let students explore key (transitional) representations of men and masculinity throughout Hollywood history. Beginning with an examination of the pre-code ‘mob men’, moving to representations of men (and dangerous women) in film noir and 1980's muscular hero action pics, among other key masculine characterisations, the module will analyse how the representation of Hollywood’s leading men has always been an altering document, drawn and redrawn to meet the demands of the day. Critical skills concerning gender, identity and representation theories will come to bear on one of the burgeoning, most hotly-debated areas of the film discipline.

Building on the previous year’s ‘Film Distribution and Exhibition’, this module will focus on creating programmes for independent cinemas and film festivals. In order to provide the understanding needed of the various industrial contexts involved, you will look at areas and activities such as:

• Film Festivals: - What is a film festival? 
• Festival development and change: The Edinburgh International Film Festival case study  
• Programming festival retrospectives: Case study in film at the Viva Spanish and Latin American Festival 
• Independent Cinemas in the UK
• Understanding the market and programming an independent cinema’s weekly list
• Curating special programmes and seasons: Case study of States of Danger and Deceit - European Political Thrillers in the 1970s (HOME Manchester)
• Initiating Cultural Interventions and working with cinemas: Case study of Chinese Film Forum UK

Different and radical forms of production and distribution, from online VOD platforms like MUBI to Youtube and 'participatory cinema', have questioned the existence of a stable film 'mainstream'. However, institutions such as financial backers, major awards and festivals have been told that their measures for success are failing to recognise and include women, people of colour, ethnic communities and queer/trans groups. The same limitations are detectable in the mainstream cinema 'canon'. This module asks, what is the canon of cinema? What supports it, how should we evaluate its effects, and that which is beyond it? 

Building upon work undertaken in Year One and Two, this module will provide you with the intellectual tools to undertake a detailed theoretical analysis of film.