1-Psycho: Film and Sound. 2-All About My Mother: Film and Genre. 3-History and memory. 4-Samson & Delilah: Australian Contexts. 5-Orlando: Feminism and Film. 6-Modes of Documentary. 7-Stories We Tell: Autobiographical Films.


Order Description


8- Citizen Kane: Critiquing Canons
9- Breathless (French New Wave)
10- Chungking Express: Auteurs and Wong Kar Wai

Unit description: This unit is an introduction to: 1) some of the main theoretical issues and debates that have defined film studies as an area of cultural interest; and 2) some of the key historical moments in classical Hollywood filmmaking and international filmmaking (from the 1940s through to more recent times).

Each written summary should be 200 words and you should aim to demonstrate the following abilities:

Identify key debates, themes and concepts in the broad field of Film Studies.
Evaluate and distinguish between theoretical positions on film practices and texts.
Analyse films critically according to themes, genres, form and cultural contexts.
Evaluate critically and analyse film texts and theories of film in written form.
Communicate in a manner conforming to accepted academic standards in written form.
The summaries should be compiled into a single document

for each topic above has required reading which is,
for topic
1- Psycho (Alfred Hitchcock: 1960: US: 109 mins)

Required Readings
Biancorosso, Giorgio. 2008. “Sound.” In The Routledge Companion to Philosophy and Film, 260–67. London: Routledge.
Sullivan, Jack. 2006. “Psycho: The Music of Terror.” Cineaste 32 (1): 20–28.

2-All About My Mother (Pedro Almodóvar: 1999: Spain: 105 mins)

Required Readings
Gledhill, Christine. 2000. “Rethinking Genre.” In Reinventing Film Studies, edited by Christine Gledhill and Linda Williams, 221–43. London: Oxford University Press.
Allinson, Mark. 2009. “Mimesis and Diegesis: Almodóvar and the Limits of Melodrama.” In All about Almodóvar: A Passion for Cinema, edited by Bradley S. Epps and Despina Kakoudaki, 141–65. Minneapolis: University of Minnesota Press.

3- Cache (Michael Heneke; 2005: France: 117mins)

Required Readings

Ezra, Elizabeth, and Jane Sillars. 2007. “Hidden in Plain Sight: Bringing Terror Home.” Screen 48 (2): 215–21.
Gilroy, Paul. 2007. “Shooting Crabs in a Barrel.” Screen 48 (2): 233–35.

4-Samson and Delilah (Warwick Thornton: 2009: Australia: 101 mins)

Required Readings

Collins-Gearing, Brooke. 2010. “Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema.” M/C Journal: A Journal of Media and Culture 13 (4): https://journal.mediaculture.org.au/index.php/mcjournal/article/viewArticle/252
Davis, Therese. 2009. “Love and Social Marginality in Samson and Delilah” Senses of Cinema 51 (July). https://sensesofcinema.com/2009/feature-articles/samson-and-delilah/

5- Orlando (Sally Potter: 1992: UK: 94 mins)

Required Readings

Smelik, Anneke. 2016. “Feminist Film Theory.” In The Wiley Blackwell Encyclopedia of Gender and Sexuality Studies, edited by Angela Wong, Maithree Wickramasinghe, Renee Hoogland, and Nancy A Naples, 1–5. Singapore: John Wiley & Sons, Ltd.
Mayer, Sophie. 2016. “Introduction: Girls to the Front.” In Political Animals: The New Feminist Cinema. London: IBTauris.
Ciecko, Anne. 1998. “Transgender, Transgenre, and the Transnational: Sally Potter’s Orlando.” Velvet Light Trap, no. 41: 19–34.

6-The Thin Blue Line (Errol Morris; 1988: United States: 103mins)

Required Readings
Nichols, Bill. 2010. “How Can We Define Documentary Film?” In Introduction to Documentary, 1–41. Indiana University Press.
Izod, John, and Richard Kilborn. 1998. “The Documentary.” In The Oxford Guide to Film Studies, 426–33. Oxford: Oxford University Press.

7-Stories We Tell (Sarah Polley: 2012: 118 mins)

Required Readings
Anderst, Leah. 2013. “Memory’s Chorus: Stories We Tell and Sarah Polley’s Theory of Autobiography.” Senses of Cinema, no. 69. https://sensesofcinema.com/2013/feature-articles/memorys-chorus-stories-we-tell-and-sarah-polleys-theory-of-autobiography/
Russell, Catherine. 1999. “Autoethnography: Journeys of the Self.” In Experimental Ethnography: The Work of Film in the Age of Video, 275–301. Durham: Duke University Press.

8-Citizen Kane (Orson Welles: 1941: US 119 mins)

Required Readings
Rosenbaum, Jonathan 2004. “Introduction.” In Essential Cinema: On the Necessity of Film Canons, xiii–xxi. Baltimore: Johns Hopkins University Press.
Wollen, Peter. 2004. “Citizen Kane.” In Orson Welles’s Citizen Kane: A Casebook, edited by James Naremore, 249–62. Oxford?; New York: Oxford University Press.
Schrader, Paul. 2006. “Canon Fodder.” Film Comment 42 (5): 33–49.

9-A bout de souffle (Breathless) (Jean?Luc Godard: 1960: France: 90 mins)

Required Readings
Andrew, Dudley. 1987. “Breathless: Old as New.” In Breathless, edited by Dudley Andrew, 3–20. New Brunswick [N.J.]: Rutgers University Press.

Vincendeau, Ginette. 2009. “Introduction: Fifty Years of the French New Wave.” In The French New Wave: Critical Landmarks, edited by Ginette Vincendeau and Peter John Graham, [New ed.]. London: BFI/Palgrave Macmillan.

10-Chungking Express (Wong Kar Wai: 1994: Hong Kong: 98 mins)

Required Readings
Stringer, Julian. 2002. “Wong Kar Wai.” In Fifty Contemporary Filmmakers, edited by Yvonne Tasker, 395–403. Routledge Key Guides. London: Routledge.

David. Bordwell. 2000. “Romance on Your Menu: Chungking Express.” In Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, Mass.: Harvard University Press.