Film

We will consider a range of films, from classics to contemporary cinema. We will discuss the style and meaning of diverse extracts drawing on key ideas from Film Studies. We will consider films from diverse countries, comparing and contrasting these with American and British cinema. The class will be organised around discussion of selected extracts, with guidance on points to look for, including different aspects of film such as the screenplay and cinematography. Students will be encouraged to develop their responses in small groups. Case studies will be included on Alfred Hitchcock and British cinema.

We will consider a range of films, from classics to contemporary cinema. We will discuss the style and meaning of diverse extracts drawing on key ideas from Film Studies. We will consider films from diverse countries, comparing and contrasting these with American and British cinema. The class will be organised around discussion of selected extracts, with guidance on points to look for, including different aspects of film such as the screenplay and cinematography. Students will be encouraged to develop their responses in small groups. Case studies will be included on Alfred Hitchcock and British cinema.

We will consider a range of films, from classics to contemporary cinema. We will discuss the style and meaning of diverse extracts drawing on key ideas from Film Studies. We will consider films from diverse countries, comparing and contrasting these with American and British cinema. The class will be organised around discussion of selected extracts, with guidance on points to look for, including different aspects of film such as the screenplay and cinematography. Students will be encouraged to develop their responses in small groups. Case studies will be included on Alfred Hitchcock and British cinema.

Exploring five arguably lesser known classics produced by British film studios Ealing and would be ‘rivals’ Gainsborough, both stalwarts of 1940s and early 1950s cinema. Ealing Studios are still renown for their many now classic comedies produced throughout the 1940s and into the 50s but perhaps the repeated focus on the same films has lead to other equally remarkable classics from their own studio becoming overshadowed. Likewise, a repeated focus on Ealing Studios has perhaps stolen praise from other British studio of the era Gainsborough. This course aims to reinvestigate some of these ‘forgotten’ classics.

What does it take to keep the audience on the edge of their seat for the classic film thriller experience? What happens when crime is thrown into the mix? We explore five examples now regarded as classics of this genre and question – do they all have far more than ‘just’ generic entertainment value? For a brief period in the 1980s, it appeared as though the crime thriller expressed something about what was perhaps a changing, or changed Britain – we examine two of these films, The Long Good Friday and Mona Lisa. Classics such as Brighton Rock provide an interesting and historical British cinematic parallel to the gangster and noir films of 30s and 40s U.S. Whereas, Get Carter, a film now regarded as an icon of national cinema was initially conceived as a trashy ‘pot-boiler’ for the U.S drive-in market, leaving some to argue it could be viewed as more of a ‘revenge Western’ set in North East England? Whilst Danny Boyle’s Shallow Grave seemingly reinvigorates the genre into something arguably more sophisticated and/or accessible in the 1990s? What common techniques do these films employ and what do they say thematically about reoccurring anxieties and tensions of the societies which produced and consumed them? Can filmmakers still learn from these or have some now dated in their power to keep us on the edge of the seat? Mona Lisa (1986), The Long Good Friday (1980), Get Carter (1971), Brighton Rock (1948), Shallow Grave (1994).

From the Academy Awards (nicknamed - ‘The Oscars’) to Cannes and the BAFTAs, sometimes it seems as though one film often dominates major categories, in 2024 this was Oppenheimer, but what were the judges really looking for, are box office figures really enough to stand the test of time with audiences? We compare this to films such as Gone With the Wind, a film still well known and highly regarded but now increasing questioned for its representation of slavery and questionable moments of morality. Do we need to remember and appreciate what this film won its awards for in the first place? Smaller scale, more micro-budget film productions such as Bait as perhaps just as important for their creative innovation and social commentary on a moment in time/history - yet it takes a different kind of award to recognise this – are awards more important for getting emerging talent recognised way from the box office. How important are awards for ‘International’ cinema such as The Power of the Dog, The Boy and the Heron and Perfect Days – what does this term really mean? Do award winning films say as much if not more about the sociological, political, technological and/or pop-cultural moments in time they were made as much as anything else? From the big hits to a near miss or two, we have fun, discuss and come to understand and appreciate the themes, approaches and creative decisions behind each of these films, broaden our knowledge of the subject area and cinema in general. The Holdovers (2023), Oppenheimer (2023), Three Billboards Outside Ebbing, Missouri (2017), Perfect Days (2023), The Conversation (1974), Gone with the Wind (1939), The Power of the Dog (2021) Bait (2019), The Boy and the Heron (2023) Oliver! (1968).

Are too many too quick to dismiss the fantasy genre as pure entertainment and/or escapist spectacle? Are there varying degrees of fantasy on screen, rendering the term fantasy film as something rather too broad? We examine a selection of five films, all using elements of fantasy to tell their stories. In Orlando, adapted from literature, elements of fantasy are used to highlight inequalities within society. Young Einstein, a film derided by critics in the U.S, makes use of alterative history and elements of surrealism to both entertain and arguably present some deeper comments regarding humanity and innovation, does its fantastical approach help or hinder? Labyrinth offers a unique screen vision by immersing the viewer in a vivid fantasy world earning itself cult status to this day but is it for children, adults or both? Spirited Away makes use of animation to comment on the modern world, here, the fantasy element is fundamental to its approach. More recent films such as Barbie prove fantasy can be big at the box office, using a variety of different approaches to both entertain and relevant social comment. Are all these fantasy films as much if not far more than meet the eye? Are there any reoccurring themes approaches? And is fantasy an ideal medium for the screen? Orlando (1992), Young Einstein (1988), Labyrinth (1986), Barbie (2023), Spirited Away (2001).

With the decline of the old Hollywood studio system, a new generation of film makers, many of them exposed to international cinema at film school, expressed themselves on screen with individual voices and a counter culture attitude. Key to this selection of films is the notion of a ‘crisis of public myth’ echoed throughout this period – just who are the heroes and who are the villains? We examine better known and continually highly acclaimed films such as Cool Hand Luke, was it just recycling the chain gang film or doing something more? The Outlaw Josey Wales as an example of the ‘Revisionist Western’ which came out of this period with its differing representation of the people and events of the Old West as previously seen in Classic Hollywood. The Last American Hero arguably questioning youthful attitudes, the law, freedom and the concept of the popular ‘folk heroes’ in a modern corporate world. Cult favourite, The Swimmer offering an example of more unusual comment on materialism, a crisis of national identity and more. With the Blues Brothers serving as an example a film carrying the New Hollywood baton in its attitude and approach after the blockbusters of the mid 1970s, mixing genres in a more comedic, musical and anti-realist style. All promoting knowledge of the subject matter and enthusiasm for film in general. Cool Hand Luke (1967), The Last American Hero (1973), The Swimmer (1968), The Blues Brothers (1980), The Outlaw Josey Wales (1976)

Away from any specific film movements or ‘waves’ relevant to their own countries, some filmmakers seem to earn greater acclaim internationally, often making films set outside their own native country, yet still telling the stories and expressing the themes they wish to portray. We examine what some of these, perhaps universal, stories and themes are, what are the stylistic approaches they use and just how and why these manage to resonate with critics and audiences. Are all these films received with equal praise within the director’s home country, are they seen as ‘selling out’? And regardless of what the director themselves might intend or state, are there still conscious or unconscious echoes of national cinematic movements within their work? And what role might financial sources play? Ang Lee’s Crouching Tiger Hidden Dragon received praise yet the director was regarded by some as ‘selling out’ or ‘exploiting’ himself to the West. Luc Besson’s The Fifth Element could be viewed simply as a Hollywood sci-fi with a French Director, yet does the director add far more as an outsider, making more intellectual comment than one may expect from a commercial genre-movie. Not unlike Peter Wier’s Witness and Jane Campion’s The Piano, so many of these works which despite their creative diversity, also evidence their director’s own unique cinematic voice. Likewise, Wim Wenders recent Perfect Days, set in Japan, how far removed is it from the director’s early underpinnings of German Cinema? Perfect Days (2023), Couching Tiger Hidden Dragon (2000), The Piano (1993), Witness (1985),The Fifth Element (1997).

This which go bump in the night, are some to quick to dismiss anything ghostly or supernatural as ‘horror’? Films which feature haunting and/or the supernatural so often rely on the fear of what might happen, mystery and suspense. As Alfred Hitchcock once said, ‘there is no terror in the bang, only in the anticipation of it’. We examine of this is also true of a good ghostly tale on film, like a thriller keeping the audience wondering what might happen? How do they do this, what techniques do they use? Films such as 1961’s The Innocents are noted as classics of the genre, adapted from a literary source, with memorable shots and scenes it still has the power to unnerve but has some of this been lost as other films copy its template? Ealing’s Dead of Night is now an influential cult classic but an oddball for the studio so noted for its comedy, what does it indicate about immediate post-war Britain? Rosemary’s Baby is now noted as pushing the genre forward into the modern age, from external terrors to fears lurking within society itself, 2001’s The Others attracted a broad audience, with fleeting nods to The Innocents, how did it re-energise the ghost story on film for the 21st Century. Whilst Ghost Story serves as an example of an all too often curio worth seeing for every fan of a ghostly tale. The Innocents (1961), Dead of Night (1945), Rosemary’s Baby (1968), Ghost Story (1974), The Others (2001).