WEA courses

Come and join us in this friendly and supportive online course to develop your music analysis skills! You'll have the chance to listen to and discuss a range of contemporary music, from film scores to songs, to develop a better understanding of the powerful effects that music can have on a listener. There will also be opportunities during the classes to have a go at creating your own music, as well as playing parts of existing music. This will be done through tutor guided exercises in note recognition, aural skills and improvisation.

The course will explore the enriching links between stories, art and music, concentrating of works from 1920s. From the surrealistic art in France and expressionist art in Germany to the many operas, ballets and symphonies which characterise that tumultuous period. In America, it is frequently referred to as the "Roaring Twenties" or the "Jazz Age", while in Europe the period is sometimes referred to as the "Golden Twenties" because of the economic boom following World War I (1914–1918). French speakers refer to the period as the "Années folles" ("crazy years") emphasizing the era's social, artistic, and cultural dynamism.

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.

For Charles Dickens, writing and worrying went hand in hand. His books were knitted together out of his own anxieties and struggles. And yet, despite the weight of all these worries, his novels are never depressing. To read Dickens is to glimpse the possibilities of new life. We all probably intend to read Dickens ‘one day.’ We all know his characters from various films and TV adaptations, so perhaps the time has finally come to get stuck into a major work. On this eight-week course we will read ‘Little Dorrit.’ We will also study some of Dickens's essays, short stories, and letters. You may already be a Dickens enthusiast, or a complete newcomer to his work. Either way, I hope that you will join us to explore a writer whose books still have the power to move and enlighten us today.

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.

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).

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).

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).