WEA courses

Regency society rakish, raffish but with a fondness for wonderful architecture, or was there more to it than that?

During this course, we will begin our discussion with a Russian classic, Doctor Zhivago by Boris Pasternak. This 1957 novel was first published in Italy. It was not published in Russia until 1988. We will be thinking about the way Boris Paternak presents the political and societal events of his lifetime. Do these scenes and ideas resonate in only a historical sense? Later on in the course we willmove on to Zennor in Darkness, Helen Dunmore’s 1996 Orange Prize winning novel to think about her portrayal of World War one Cornwall and DH Lawrence, as we continue our discussion about the way fiction translates the past.

We will be studying plays and how they are, or might be performed. As far as possible we will choose plays that we can see locally, either at nearby theatres, mainly Derby and Nottingham or streaming. Our aim is to enhance our understanding and enjoyment of theatre and to explore its relevance to our life today. We will read extracts, discuss the themes and how they are presented, and consider the current performance.

During this course, we will begin our discussion with a Russian classic, Doctor Zhivago by Boris Pasternak. This 1957 novel was first published in Italy. It was not published in Russia until 1988. We will be thinking about the way Boris Paternak presents the political and societal events of his lifetime. Do these scenes and ideas resonate in only a historical sense? Later on in the course we will move on to Zennor in Darkness, Helen Dunmore’s 1996 Orange Prize winning novel to think about her portrayal of World War one Cornwall and DH Lawrence, as we continue our discussion about the way fiction translates the past.

Go behind the scenes of the Government Art Collection, a less well-known national art collection, with Chantal Condron, a former curator at the Collection. Discover the fascinating origins of its history, and the people and events that have shaped its past. Explore how and why artworks are acquired or commissioned and discover some of the locations where they have been displayed. We explore works across a range of media from paintings to film, by artists from the 16th to the 21st centuries, including Marcus Gheerhaerts the Younger, Thomas Phillips, Bridget Riley, Michael Armitage and recent Turner Prize winner, Jesse Darling

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)

How do the popular representations of smuggling in novels, songs, poems, paintings and film match up to the reality? We will look at some of the enduring romantic depictions alongside official records to consider the reality of life for people up and down the Essex coast in the 18th century engaged in smuggling or the fight against it.

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).

Show don’t tell – so often easier said than done – Just how does an idea turn into a script? How much info do I include in a script? Is it really more than just dialogue? In some ways writing a script requires a very different approach from the writer. We gain knowledge and understanding of the differing requirements of writing for the screen, both what works for TV and what approach is more cinematic, as well as writing for the radio. Radio, so often described as the ‘intimate’ medium, plays in a listener’s head offering scope for greater imagination and powerful emotional effect. We will also explore the creative process, just what is the correct format for each of these mediums, where to start, how to develop an idea into a script, allowing it to grow scene by scene (what even is ‘a scene’). The course will also cover writing/developing a TV series, comedy, writing for ‘soaps’ and feature some more general skills on developing story structure and character development of interest to any budding writer. With a mix of group and individual tasks, discussion, analysis of clips as examples, it is hoped that all will dabble and develop some writing whilst on the course. What makes a good script and what is a bad script? This is an informative and fun course, with some key first hand information, not to be missed.