LT207-5-FY-CO:
World Cinema

The details
2019/20
Literature, Film, and Theatre Studies
Colchester Campus
Full Year
Undergraduate: Level 5
Current
Thursday 03 October 2019
Friday 26 June 2020
30
03 May 2019

 

Requisites for this module
(none)
(none)
(none)
(none)

 

(none)

Key module for

(none)

Module description

This module is designed to introduce students to major developments in film outside the Hollywood tradition, by examining a number of cinemas from around the world.

We will consider stylistic and thematic concerns shared by certain schools of filmmakers in a given nation/region; we will also be looking at the ways in which films represent national/regional histories and the factors that shape their reception as national, transnational or 'world' cinemas.

In the autumn term, we will introduce the framework of genre as a way of approaching world cinema, focusing on popular genres – world cinema as local and/or global entertainment.

In the spring term, our attention will shift towards transnational trends and themes in world cinema, whilst acknowledging the genre categories that shape the production, distribution and reception of all films, including those marketed as 'art'.

Module aims

Aims of the module:

1. To provide students with an overview and knowledge of major developments in film outside the Hollywood tradition

2. To provide opportunities for developing an understanding and critical analysis of the ways in which films represent national/regional histories and the factors that shape their reception as national, transnational or 'world' cinemas.

3. To develop students' analytical ability and understanding of key concepts and issues in contemporary world cinema.

Module learning outcomes

By the end of the module, students should gain
1. A knowledge of key concepts and issues in contemporary world cinema production and distribution.
2. An ability to find and interpret relevant production and reception data.
3. An ability to undertake research on a theme or trend in world cinema, and discuss issues of aesthetics, production, distribution and exhibition.
4. An ability to clearly communicate knowledge and understanding of world cinema, in both oral and written work, using the appropriate conventions of scholarly argument.

Module information

No additional information available.

Learning and teaching methods

Weekly 2-hour seminar

Bibliography

  • Langford, Michelle. (©2012) 'From Rubble to Terror: German Cinema’s Coming to Terms with the Past', in Directory of world cinema: Germany, Bristol, UK: Intellect. vol. v. 9, pp.205-215
  • Desser, David. (2016) 'Chungking Express, Tarantino and the Making of a Reputation', in A Companion to Wong Kar-wai, Malden, MA: Wiley-Blackwell. vol. Wiley Blackwell Companions to Film Directors
  • (©2017) The Routledge companion to cinema and gender, New York, NY: Routledge.
  • Gansel, Dennis. (2008) The Wave / Die Welle.
  • Sengupta, Mitu. (2013) 'A Million Dollar Exit from the Slum-World: Slumdog Millionaire's Troubling Formula for Social Justice', in "Slumdog" Phenomenon, The: A Critical Anthology: Anthem Press., pp.69-89
  • Torrent, Ana; Erice, Víctor. (1973, c2003) The spirit of the beehive, [London]: Optimum Releasing.
  • Stafford, Roy. (2014) 'Diverse Indian Cinemas', in The Global Film Book: Routledge., pp.264-294
  • Deleyto, Celestino; Azcona, María del Mar. (©2010) Alejandro González Iñárritu, Urbana: University of Illinois Press.
  • Barclay, Barry. (2003) 'Celebrating Fourth Cinema', in Illusions. vol. 35, pp.7-11
  • Stefanson, Blandine. (2014) Directory of World Cinema: Africa: Intellect (UK).
  • Halle, Randall. (©2010) 'Offering Tales They Want to Hear: Transnational European Film Funding as Neo-Orientalism', in Global art cinema: new theories and histories, New York: Oxford University Press., pp.303-319
  • Paronnaud, Vincent; Satrapi, Marjane. (2007) Persepolis.
  • Thomas Elsaesser. (2015/04/15) 'Black Suns and a Bright Planet: Lars von Trier's Melancholia as Thought Experiment', in Theory & Event: Johns Hopkins University Press. vol. 18 (2)
  • Stafford, Roy. (2014) 'Case Study: Ten Canoes', in The Global Film Book: Routledge., pp.89-95
  • Dennison, Stephanie; Lim, Song Hwee. (2006) 'Introduction', in Remapping world cinema: identity, culture and politics in film, London: Wallflower Press., pp.1-15
  • Teo, Stephen. (c2009) 'Introduction', in Chinese martial arts cinema: the Wuxia tradition, Edinburgh: Edinburgh University Press. vol. Traditions in world cinema, pp.1-16
  • Atwood, Blake Robert. (©2016) 'Video Democracies', in Reform cinema in Iran: film and political change in the Islamic Republic, New York: Columbia University Press.
  • Azcona, María del Mar; dawsonera. (2010) The multi-protagonist film, Oxford: Wiley-Blackwell. vol. New approaches to film genre
  • von Trier, Lars. (2011) Melancholia.
  • Honess Roe, Annabelle. (2013) Animated Documentary, Basingstoke: Palgrave Macmillan.
  • De Heer, Rolf; Djigirr, Peter. (2006) Ten Canoes.
  • Stafford, Roy. (2014) 'Case Study: Caramel and European Funding and Support', in The Global Film Book: Routledge., pp.169-171
  • Brandt, Bettina. (2005) 'German Comedy', in Comedy: a geographic and historical guide, Westport, Conn: Praeger., pp.350-362
  • Lionis, Chrisoula. (2016) 'Occupied Laughter', in Laughter in occupied Palestine: comedy and identity in art and film, London: I B Tauris., pp.128-157
  • Abu-Assad, Hany; Nashef, Kais. (c2006) Paradise now, [London]: Warner Home Video.
  • Bartlet, Olivier. (2016) 'Introduction', in Contemporary African cinema, East Lansing: Michigan State University Press. vol. African humanities and the arts
  • Ciecko, Anne. (2016) 'Bicycle Borrowers after Neorealism: Global Nou-Velo Cinema', in Culture on Two Wheels: The Bicycle in Literature and Film: University of Nebraska Press., pp.244-262
  • Stafford, Roy. (2014) 'Die Welle', in The Global Film Book: Routledge., pp.72-75
  • (2002) Ten, New York]: Zeitgeist Films.
  • De Sica, Vittorio; Maggiorani, Lamberto. (1948) The bicycle thieves, [U.K.]: Arrow Films.
  • Lee, Ang. (2000) Crouching Tiger, Hidden Dragon.
  • Chakravarty, Sumita. (2014) 'Configurations: The Body as World in Bollywood Stardom', in Figurations in Indian Film, Basingstoke: Palgrave Macmillan., pp.179-201
  • Stafford, Roy. (2014) 'The Role of Film Festivals', in The Global Film Book: Routledge., pp.187-91
  • King, Geoff. (2002) 'Introduction in Film Comedy', in Film Comedy, London: Wallflower Press.
  • Pinkerton, Nick. (June 2015) 'Film of the Week - Timbuktu', in Sight and Sound.
  • Schepelern, Peter. (2003) 'Lars von Trier and the Origin of Dogme 95', in Purity and Provocation: Dogma '95, London: British Film Institute.
  • Banaji, Shakuntala. (2013) 'Seduced "Outsiders” versus Skeptical "Insiders”? Slumdog Millionaire through Its Re/Viewers', in Crossover Cinema: Cross-Cultural Film from Production to Reception: Routledge., pp.123-139
  • Steenberg, Lindsay. (2006) 'A Dream of China: Translation and Hybridisation in Crouching Tiger, Hidden Dragon', in EnterText. vol. 6 (1)
  • Dönmez-Colin, Gönül. (2007) 'Ten', in The cinema of North Africa and the Middle East, London: Wallflower Press. vol. 24 frames, pp.235-246
  • Labaki, Nadine; Elmasri, Yasmine; Films des Tournelles. (c2008) Caramel, [S.l.]: Momentum Pictures.
  • Sissako, Abderrahmane. (2014) Timbuktu.
  • Lodge, Guy. (May 13, 2016) 'Film review: Toni Erdmann', in Variety.
  • Donald, Stephanie; Wilson, Emma; Wright, Sarah. (©2017) 'Introduction', in Childhood and nation in contemporary world cinema: borders and encounters, New York: Bloomsbury Academic.
  • Wright, Sarah. (2017) 'Introduction', in Childhood and nation in contemporary world cinema: borders and encounters, New York: Bloomsbury Academic.
  • Dickinson, Kay. (©2010) 'The Palestinian Road (Block) Movie: Everyday Geographies of Second Intifada Filmmaking', in Cinema at the periphery, Detroit: Wayne State University Press., pp.137-155
  • González Iñárritu, Alejandro; Pitt, Brad; Blanchett, Cate. (c2006) Babel, [U.K.]: Paramount Home Entertainment.
  • Wong, Kar-wai. (1994) Chungking Express.
  • Bordwell, David. (2000) 'Avant Pop Cinema and Romance on Your Menu', in Planet Hong Kong: popular cinema and the art of entertainment, Cambridge, Mass: Harvard University Press.
  • Wood, Houston. (©2013) 'Dimensions of Difference in Indigenous Film’', in Native Americans on film: conversations, teaching, and theory, Lexington, Kentucky: The University Press of Kentucky., pp.35-57
  • Ade, Maren; Simonischek, Peter; Hüller, Sandra. (2017) Toni Erdmann, Culver City, California: Sony Pictures Home Entertainment.
  • Azcona, María del Mar. (2010) The multi-protagonist film, New York: Wiley-Blackwell. vol. New approaches to film genre
  • Tchouaffe, Olivier-Jean. (2017) The poetics of radical hope in Abderrahmane Sissako's film experience, Lanham: Lexington Books.
  • Prasch, Tom. (2008) 'Persepolis', in Film & History: An Interdisciplinary Journal of Film and Television Studie. vol. 38 (2) , pp.80-82
  • Ghorbankarimi,, Maryam. (2017) 'The Key Frames: Milestones in the Institutional History of Animation in Iran', in Animation in the Middle East: practice and aesthetics from Baghdad to Casablanca, London: I.B. Tauris. vol. Tauris world cinema series
  • Al Mansour, Haifaa; Abdullah, Reem. (2012) Wadjda, [S.l.]: Soda Pictures.
  • Ruberto, Laura; Wilson, Kristi. (2007) 'Introduction', in Italian Neorealism and Global Cinema, Detroit, MI: Wayne State University Press., pp.1-15
  • Tchouaffe, Olivier-Jean; dawsonera. (2017) The poetics of radical hope in Abderrahmane Sissako's film experience, Lanham, Maryland: Lexington Books.
  • White, Patricia. (2015) 'Nadine Labaki’s Celebrity', in Women’s Cinema, World Cinema: Duke UP., pp.120-131
  • Boyle, Danny; Tandan, Loveleen. (2008) Slumdog Millionaire.

The above list is indicative of the essential reading for the course. The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students. Further reading can be obtained from this module's reading list.

Assessment items, weightings and deadlines

Coursework / exam Description Deadline Weighting
Coursework Quiz (No Submission Required - Completed on Moodle) 5%
Coursework Presentation 15%
Coursework Film case study (2,000 words) 13/12/2019 30%
Coursework Essay proposal (500 words and bibliography) 02/03/2020 5%
Coursework Essay (2,500 words) 20/04/2020 40%
Practical Class Participation Mark 5%

Overall assessment

Coursework Exam
100% 0%

Reassessment

Coursework Exam
100% 0%
Module supervisor and teaching staff
Professor Shohini Chaudhuri
LiFTS General Office - email liftstt@essex.ac.uk. Telephone 01206 872626

 

Availability
Yes
Yes
No

External examiner

Dr Mikel Koven
Senior Lecturer - Film Studies
Resources
Available via Moodle
Of 100 hours, 40 (40%) hours available to students:
60 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).

 

Further information

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