MD5004 Module Guide - Long Version 2014 15(1)

8/10/2019 MD5004 Module Guide - Long Version 2014 15(1)

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Sir John Cass Department of Art, Media and Design London Metropolitan University

Sir John Cass Faculty of Art, Architecture & Design

MD5004Image and Industry

MODULE GUIDE

Timetabled sessions: Tuesday 2-4pm Lecture/screening4-5pm Seminar/workshop


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Module Booklet Contents

Section 1: Staff teaching team details

Section 2: Module specification

Section 3: Timetable

Section 4: Essential reading

Section 5: Assessment details

Section 6: Student Evaluation


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Section 2:Module Specification

LONDON METROPOLITAN UNIVERSITY

Section One: ABOUT THE MODULE

1 Module title Image and Industry

2 Module code MD5004

3 Module level and credit rating 5 30

4 Faculty AAD

5 School/Subject Discipline School of Art

6 Teaching locations City

7 Teaching period 30 week, year-long

8 Pattern of attendance FT & PT Day

9 Required prior learning Pass & Completion of Prior Level10 Module description

This module develops students critical abilities in the analysis of film & television forms and texts, the circumstances of their financing,

production, distribution and exhibition in the economy and society. It encourages students to apply what they have learned from this analysis.

It also develops the ability of the student to critically evaluate the film and television labour market.

11 Module aims

This module aims to:

To outline film & television industry structures and current industry opportunities. To acquaint students with key economic and institutional developments in film & television with particular emphasis on Britain. To understand current trends in the media industry towards transmedia (when media content is created to be used across a range

of media platforms such as computers, mobile phones and other mobile devices).

To critically reflect on the ethics of media productions and media industries. To assess the validity of the concept of the critical public sphere. To encourage students to link such critical research and study to their own practice.

12 Module learning outcomes

On successful completion of this module students will be able to:1. Analyse and understand the dynamics underlying changing patterns of production, marketing and consumption of cinema and

television in economy and society.

2. Understand and outline the organisational structure of various modes of film & television production3. Show awareness of the imperatives and constraints that operate in real world media content production.4. Present work across a variety of media in a professional fashion.

13 Indicative syllabusfor full details see section C in Module Booklet

The module will necessarily reflect material of currency, contemporary thought and critical practice. Topics normally covered may include:

Models of finance, production, distribution, marketing & exhibition in a range of media budgetsectors from high to no-budget.

Globalisation and Branding. Commissioning & broadcast of television film. Media ethics, politics and economics. Film and/or television roles and career case histories. Changes brought about through increasing role played by new media platforms. The rise of the short film.

14 Indicative bibliography and key on-line resourcesfor full details see section D in Module Booklet


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This bibliography is indicative. Additional sources and weekly reading will be detailed in the module booklet:

Acland, C.A., 2003 Screen Traffic: Movies, Multiplexes, and Global Culture, North Carolina: Duke University Press

Bruns, A., 2008 From Production to Produsage (Digital Formations) New York: Peter Lang

De Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: AUP

Durie, Pham & Watson 2000. Marketing and Selling Your Film Around the World, Los Angeles:

Silman-James Press

Finney, A., 2010. The International Film Business, London: Routledge

Kerrigan, F. 2010. Film Marketing, Oxford: Elsevier

Klinger, B., 2006 Beyond the Multiplex: Cinema, New Technologies and the Home, California: University of California Press

www.mediasalles.it (European Cinema on-line database, including European Cinema Yearbook)

www.europa.eu.int/eur-lex (European Commission website)

www.bfi.org.uk (information on British cinema market)

15 Learning and Teaching strategy for the module including approach to blended learning, students study responsibilities and opportunities for

reflective learning/pdpThe assignment brief will be available from the beginning of the module allowing students to plan their work in advance and when possible,

live projects will be incorporated into assessments. Students will choose case studies with support from their tutor. The final assessment will

allow students to build upon their earlier

research.

The module is delivered through lectures, seminars, workshops and screenings with tutorial guidance

available throughout the module. Visiting speakers, external visits and live projects will be available through the module where appropriate.

Students will engage in self-directed study to enable them to complete the required assignments. Module booklets and further material,

including lecture notes and research links will be available to students on WebLearn.

16 Indicative learning and teaching hours for the module. Learning hours comprise face-to-face and virtual contact hours plus self-managed and

directed learning and time spent on placements (where relevant).

Method Description and percentage of learning hours

Scheduled learning and teaching activities 120 (40%)

Guided independent study 180 (60%)

Placement/study abroadTOTAL LEARNING HOURS FOR THE MODULE 300

17 Assessment strategy

The assessment load complies with the Facultys assessment tariff.

Assessment will be based on 100% coursework through two assessed components.

Project (40% of overall mark): will demonstrate understanding and further exploration of thematerial introduced in the module. Through a self-designed project, the student will also be

required to demonstrate analysis and synthesis of module materials.

Portfolio of texts (60% of overall mark): will demonstrate students ability to research, analyse and present a variety of re levantmaterial across a range of media.

All written elements should demonstrate appropriate academic referencing including bibliographies in the required format.

Work will be assessed against the learning outcomes in relation to the following criteria:

Appropriate use of research methods Quality of analysis and interpretation Subject knowledge and relevance Quality of communication and presentation Appropriate use of problem solving, testing and experimentation Management of own learning and personal professional development.

18 Arrangements for formative and summative feedback

Project: Students will receive formative feedback on project proposal.

Portfolio provides the opportunity for formative feedback while gathering and organising materials.

19 Description of assessment items

Assessment Method Description of Item % weighting Week DueIf not pass on aggregate, explain what is

required to pass the module

CWKProject (circa 1500 words or equivalent)

40% 29 Initially submitted & evaluated circa week

15CWK Portfolio of texts (circa 2500 words or

equivalent)

60% 29
http://www.europa.eu.int/eur-lexhttp://www.bfi.org.uk/http://www.bfi.org.uk/http://www.europa.eu.int/eur-lex


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Section Two: FACULTY USE

20 Nominated External Examiner Lizzie Sykes

21 Nominated Module Leader at time of approval Karen Smith

22 Courses to which this module contributes and whether Core or Option Core for:

BA (Hons) Film & Broadcast Production

Section Three: OFFICIAL USE AND CODES responsibility for completion is as indicated

23 Original date of approval (QEU)

24 Module approved to run from (QEU)

25 Revision date (specify cohort) (QEU)

26 Module specification version number (QEU)

27 SITS Mark Scheme (Academic Registry)

28 Subject Standards Board Name (Academic Registry)

FILM ANALYSIS: Some Terms and Definitions for Textual Analysis of Film

NARRATIVE

The dominant form in the commercial cinema is NARRATIVE FILM. NARRATIVE film-makers seek to makeseamless illusions of reality. The illusion of a coherent fictional world is achieved through certain technicaland artistic conventions of MISE-EN-SCNE and EDITING such as the use of the CONTINUITY SYSTEM(see below). These conventions are now ubiquitous, learned by audiences at a very early age and so oftenassumed to be natural. They have, however, developed over time.

There are other ways to shoot and organise films which achieve a different effect to the easily-understoodnarrative of mainstream films. Films may also have an ALTERNATIVE FORM OF ORGANISATION, e.g. UNCHIEN ANDALOU(Luis Bunuel, 1929, FR). They could be NON-NARRATIVE or ANTI-NARRATIVE, meaningthat time and space in these films is not organised through the CONTINUITY SYSTEM.

From Bordwell, D. and Thompson, K., 1993, Film Art: An IntroductionNew York: McGraw-Hill - Terms used todiscuss NARRATIVE FILMS:

NARRATIVE Chain of events in cause-effect relationship ordered in time and space by MISE-EN-SCNEand EDITING.

NARRATIVEFORM

Film organisation where parts relate to each other through series of causally related eventstaking place in a specific time and space.

NARRATION Process through which plot conveys or withholds information. Can be more or less restricted to aspecific characters knowledge. Can more or less emphasise a specific characters mental perceptionsor thoughts; i.e. POINT OF VIEW.

PLOT In narrative film: all the events that are directly presented to the audience including theircausal relations.

STORY In narrative film: all the events the audience see and hear plus those inferred or assumed tohave occurred, including their presumed causal relations.

DIEGESIS In narrative film: the world of the films story.

Further detail: Bordwell, D. and Thompson, K., 1993 Film Art: An Introduction,New York: McGraw-Hill, Chs. 3and 4 for NON-NARRATIVE FORMS.

MISE-EN-SCNE

DEFINITION: All the elements placed in front of the camera: i.e. WHAT IS TO BE SHOT


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1. DECOR/SETTING/LOCATION

2. CHARACTERS/FIGURES - actions, movement, expression, clothes, make-up, accents, acting styles

3. LIGHTING - highlights, shadows, neutral or even lighting.

MISE-EN-SCNE orders time and space, giving the audience information about who, what, where, when, howand why. Audiences often judge MISE-EN-SCNE using common-sense notions of realism (i.e. is this true tolife?). Within film criticism, CONTROL over MISE-EN-SCNE is often taken to indicate the directorsCONTROL over the project as a whole. Look at the FUNCTION of MISE-EN-SCNE. It has been used for apurpose - to convey information with economy. SEMIOTICS has been a useful form of analysis for MISE-EN-SCNE: in terms of what appears on the screen (DENOTATION) and the associated meaning and values(CONNOTATION).

Further detail: Bordwell, D. and Thompson, K., 1993 Film Art: An IntroductionNew York: McGraw-Hill, Ch.5.

CINEMATOGRAPHY

DEFINITION: How the mise-en-scne is to be shot: constituting the technical codes of film-making:

FRAMING

CAMERA PLACEMENTCAMERA ANGLECAMERA MOVEMENT/STASISCOLOURS/TONESSHOT DURATION

Frame Composition

For more detail: Bordwell, D. and Thompson, K., 1993 Film Art: An IntroductionNew York: McGraw-Hill, Ch.6.

SOUND

Do not forget the importance of SOUND - including music, dialogue, voice-over, effects, character accents andthe use of silence. Non-narrative films may employ silence for specific purposes: think about the effect.

For more detail: Bordwell, D. and Thompson, K., 1993 Film Art: An IntroductionNew York: McGraw-Hill, Ch.8.

EDITING

DEFINITION: With the exposed film: selecting and joining camera takes.

On screen: the set of techniques that cue the audiences understanding of relationsbetween shots.

SHOT: In the camera: one uninterrupted run of the camera to expose a series of film frames.

On screen: one uninterrupted image.

CONTINUITY EDITING

DEFINITION: System of cutting to maintain clear and continuous narrative action by maintaining SCREENDIRECTION, SCREEN POSITION, and TEMPORAL RELATIONS from shot to shot. This is the usual form ofediting in mainstream cinema.

This is achieved using such techniques as:

ESTABLISHING SHOT A shot with a distant framing showing the spatial relations between the figures, objects

and setting in a scene. Usually followed by detailed shots.


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EYELINE MATCH A cut obeying the axis of action in which the first shot shows a person looking off in onedirection, and the second shows a space (supposedly nearby) containing what she/he sees.

MATCH ON ACTION A continuity cut which places two different framings of the same action together at the samemoment in the gesture, making it seem to continue uninterrupted.

180 SYSTEM The camera stays on one side of the action to ensure consistent spatial relations betweenobjects to the right and left of the frame (also known as the AXIS OF ACTION).

CROSSCUTTING Alternating shots of two or more sets of actions going on in different places, usuallysimultaneously.

SCREEN DIRECTION The right-left relationships set up in the ESTABLISHING SHOT. Editing leaves out shorttime-spans (minutes, hours, days) or long time-spans (months, years, centuries). THESE ARE TEMPORALELLIPSES. Very few films are made in REAL TIME. Editing orders time and space.

Further detail: Bordwell, D. and Thompson, K., 1993 Film Art: An Introduction,New York: McGraw-Hill, Ch.7.

Section 3:

Timetable

The following timetable details the activities you will be undertaking over the course of the year.

Included in it are the assessment deadlines. You MUST ensure that work is submitted by the stated

deadlines and to the appropriate location. It is also essential that you submit all parts of the

assessment.

MD5004 Image and IndustryLevel 5

You are welcome to arrange additional tutorials throughout the yearemail yourtutor.Your tutor is available in their office during the weekly Student Counselling hours,posted on WebLearn

Week Screening Lecture Seminar/Workshop Assessments/Submissions130/9/14

Extracts Models offinance,production,distribution,marketing &exhibition

Discussion

27/10/14

Extracts Visual storytelling

Workshop - Shotby shot analysisand filmdiscussionbring your

research to thesession

See London Film Festivalscreenings


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Europe1520/1/15

Extracts Case Study: No-budget model:making No-

budget. Yourpress packrevisited

Workshop - filmdiscussionbring your

research to thesession

Online WebLearnsubmission of bothcoursework 1st drafts.

1627/1/15

Feedback Tutorials

172/2/15

Extracts Festivals Raising yourprofile throughfestivalsubmission

18 Celebration Week- Rough Cuts

1917/2/15

Extracts Production rolesand jobs

New mediaplatforms

Distributing yourwork digitally

2024/2/15

Extracts Case Study:SuccessfulBritish film studio

Workshop - filmdiscussionbring yourresearch to thesession

213/3/15

Extracts Film Career casestudyArt filmmaker


22

10/3/15

Extracts Film Career case

studyIndependent filmmaker

Workshop - film

discussionbring yourresearch to thesession

2317/3/15

Extracts Film industrycase study:Ireland


2424/3/15

Extracts Commissioning& broadcast oftelevision - casehistory


WebLearn/Turnitinsubmission of allcoursework final versiondue for feedback

VACATION2514/4/15

FEEDBACK TUTORIALS

2621/4/15

Extracts Visualstorytellingrevisited

Workshop - filmdiscussionbring yourresearch to thesession on

2728/4/15

Extracts MediaConvergenceand summary

Workshop - filmdiscussionbring your

research to thesession28 Project and


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5/5/15 portfolio feedback2912/5/15

ALL ASSESSMENTS DUEFINAL SUBMISSION OFALL WORKhard copy for

UG Centre and on Turnitin13/5/143018/5/1531W/C25/5/15

Graduation showplanningdiscussion andfeedback

32W/C1/6/15

Graduation showplanningdiscussion andfeedback

33

W/C8/6/15

Graduation show

planningdiscussion andfeedback

34W/C15/6/15

FINAL CUTSGRADUATIONSHOW

35W/C22/6/15

FINAL CUTSGRADUATIONSHOW

W/C27/7/15

Reassessment deadline 30/7/15

TUTORIALS

You are welcome to arrange additional tutorials throughout the yearemail yourtutor.Your tutor is available in their office during the weekly Student Counselling hours,posted on WebLearn

Scheduled tutorials are mandatory and all students MUST attend.

Repeated non-attendance at tutorials will be regarded as evidence of non-

engagement and will result in diminished grades or withdrawal from themodule.

Section 4:

Essential Reading

Cook, P., 1987, 1999,2008

The Cinema Book, London: BFI or later editions.

This has a useful, short introduction to the development of classic narrative andalternative narrative systems, art cinema, cinema outside Hollywood and filmauthorship. It contains a section on film history with individual case studies coveringmany of the film movements studied in the module. It also contains sections on film


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theory, which are especially useful covering theories of film narrative and authorship.It offers information and debate in bite-sized chunks with clear references at the endof each section, which will help you to develop your research. The 1999 editioncontains reference to the development of theoretical debates in the late 1980s and1990s (and omits description of BFI film clips in the 1987 edition).

Bordwell andThompson, 2010 &various editions

Film Art: An Introduction, New York, McGraw-Hill or latereditions.

This is an extensive introduction to the terminology of film analysis in its theoreticaland practical approaches. The chapters dealing with film form and style lead intomore detailed chapters on mise-en-scne, editing, cinematography and sound,followed by sample close analyses of specific films (mainstream and alternative).The book concludes with short sections on the history of film as art covering most ofthe film movements from the module. The relevant sections MUST be read beforeyou begin your own close analysis. The 6th edition has a CD Rom. There is also auseful website: www.mhhe.com/filmart with masses of useful material, and links.

Acland, C.A., 2003 Screen Traffic: Movies, Multiplexes, and Global Culture, NorthCarolina: Duke University Press

Bruns, A., 2008 From Production to Produsage(Digital Formations) New York: PeterLang

Cousins, M., 2011 The Story of Film, London Pavilion

De Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia,Amsterdam: AUP

Durie, Pham & Watson 2000.Marketing and Selling Your Film Around the World,Los Angeles:

Silman-James Press

Finney, A., 2010. The International Film Business, London: Routledge

Kerrigan, F. 2010. Film Marketing,Oxford: Elsevier

Klinger, B., 2006 Beyond the Multiplex: Cinema, New Technologies and the Home,California: University of California Press

www.mediasalles.it (European Cinema on-line database, including EuropeanCinema Yearbook)

www.europa.eu.int/eur-lex (European Commission website)

www.bfi.org.uk (information on British cinema market)

Useful Introductions

Wood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold

Bazin, A., 1974 What is Cinema? California, UCP or later editions

Wollen, P., 1988 Readings and Writings, London, Verso
http://www.europa.eu.int/eur-lexhttp://www.bfi.org.uk/http://www.bfi.org.uk/http://www.europa.eu.int/eur-lex


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Stam, R., 2000 Film Theory: An Introduction, Oxford: Blackwell

Hollows, Hutchinsand Jancovich, 2000

The Film Studies Reader, London, Arnold

Lacey, N., 2009 Image and Representation: Key Concepts in Media Studies,Basingstoke: Palgrave MacMillan,

Corrigan & White,2009

The Film Experience: An Introduction, Bedford: St. Martins

Cousins, M., 2004 The Story of Film, London: Pavilion BooksYou may have access to earlier or later editions of these books. Do not worry, justlook out for the relevant chapter headings rather than specific page references.

Other Useful Guides

Phillips, W.H., 2005 Film: An Introduction, London: Palgrave MacMillanSome very good discussion of key terms but does emphasise American cinema,which is not covered in this module.

Nowell-Smith, G.(ed.) 1997 The Oxford History of World Cinema, Oxford: OUP

The sections on Cinema and the Avant Garde both pre- and post-Silent NationalCinemas, Extending the Boundaries, Cinemas of the World and Conclusion areespecially useful.

Hill & Church Gibson(ed.), 1998 The Oxford Guide to Film Studies, Oxford: OUP

This contains a useful section of case studies relevant to the module: WorldCinema: CriticalApproaches. It offers a concise introduction to some of thedebates on the module.

Vicendeau, G. (ed)1995

Encyclopaedia of European Cinema, London: BFI

This offers very short, concise entries on European production (nationally or by director), otherpersonnel such as stars, debates and issues. This can be used to clarify definitions and develop

your own research.

Hayward, S. 1996 Key Concepts in Cinema Studies, London: Routledge

This is another text offering very short, concise entries covering basic issues in filmtheory and history. It should also be used to clarify definitions and develop yourown research.

Periodicals: Sight and Sound, Screen

FURTHER READING

General

Adorno, T. and Horkheimer, M. 1947/79 Dialectic of Enlightenment, London: Verso


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Stam, R., Burgoyne, R. and Flitterman-Lewis, S. 1992 New Vocabularies in Film Semiotics, London:RoutledgeSelf, R., 1979 Systems of Ambiguity in Art Cinema, Film Criticism 4(1)Sklar, R. Film: An International History of the Medium, London: Thames & Hudson

Tudor, A., 1974 Theories of Film, London: Secker & WarburgTurner, G., 1993 Film as Social Practice, London: RoutledgeValasek, T.E. Frameworks: An Introduction to Film Studies, Dubuque: W.C. BrownWilliams, C., ed. Cinema: The Beginnings and the Future, London: UWP

Current Practices in the Art Film and International Film Industries

BFI Film and Television Yearbooks See BFI websiteCrane, D. 2002 Culture and Globalization: Theoretical Models and Emerging Trends in Diana Craneet al (eds): Global Culture: Media, Arts, Policy, and Globalization, London:Routledge, 2002.Croteau, D. & William Hoynes 2001 The Business of Media, Pine Forge PressBalio, T. A major presence in all of the worlds important markets: the globalisation of Hollywood inthe 1990s in Neale and Smith (ed.) 1998, Contemporary Hollywood Cinema, London: Routledge

Downey, M. (ed.), 1999 Film Finance Handbook, Madrid: Media Business School Publication, 48-57, 180-191Doyle, G. 2002 Understanding Media Economics, London: Sage, and Media Ownership,London:Sage, 2002.Durie, J., Pham, A. and Watson, N., 2000 Marketing and Selling your Film Around the World, LosAngeles: Silman-James Press, 7-25, 51-149Elsaessor, T. 1994 Putting on a Show: the European Art Movie, Sight and Sound4(4)Everett, W. ed. 1996 European Identity in Cinema, London: IntellectEuropean Audiovisual Observatory Yearbook 2009 (European Audiovisual Observatory, 2010), andprevious editions.Featherstone M., ed., 1990 Global Culture, London: SageFinney, A., 1996 Developing Feature Films in Europe, London: RoutledgeFinney, A., 1996 A New Dose of Reality: The State of European Cinema, London: Cassell

Hayward and Vincindeau, eds., 2000 French Film: Texts and Contexts, London: Routledge, 281-327Hill and Martin, ed., 1977 Big Picture: Small Screen, Luton: ULPHjrt, H., & Mackenzie, S., ed., 2000 Cinema and Nation, London: RoutledgeHjrt, H., & Ib Bondebjerg (eds) 2001 The Danish Directors: Dialogues on a Contemporary NationalCinema, London, Intellect.Hjrt, M., & S Mackenzie (eds) 2003 Purity and Provocation: Dogme 95, London: BFI.Iosifides, P. Jeanette Steemers & Mark Wheeler 2005 European Television Industries, London: BFIJackel, A., 2003 European Film Industries, London: BFIMoran, A., ed., 1996 Film Policy, London: RoutledgeNowell-Smith, G. and Ricci, S., ed., 1998 Hollywood and Europe, London: BFIPetrie, D. ed., 1992 Screening Europe, London: BFISorlin, P., 1991 European Cinemas, European Societies 1939-1990, London: RoutledgeSpicer, A., ed., 2007 European Film Noir, Manchester University Press

Stone, R., 2002 Spanish cinema, LongmanTempe, M., 2004 The French Cinema Book, London:BFITemple, M., Williams, J. S., & Witt, M., ed., 2004 Forever Godard, Black DogWayne, M.,2002 The Politics of Contemporary European Cinema: Histories, Borders, Diasporas,Bristol: Intellect Books, see Chapter 2, National cinema/international markets.Wood, M., 2005 Italian Cinema, BergWyatt, J., 1994 High Concept, Texas: UTP, 60-65Wright, R. Art Cinema: Where Next?,Filmwaves, Winter 2000Vitali & Willeman, 2006 Theorising National Cinema, London: BFI

Websiteshttp://obs.coe.int (European Audiovisual Observatory)

http://ec.europa.eu/information_society/media. Has information about past and present versions of theMEDIA programme.


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http://www.mediasalles.it (European Cinema on-line database)http://www.europa.eu.int/eur-lex (European Commission website. Time consuming to trawl but hasdetails of media legislation, including the MEDIA PLUS support arrangements, which took over fromthe MEDIA II scheme in 2001)

http://www.bfi.org.uk (A fount of information on the British cinema market)See the 2009 Power to the Pixel conference organised by the BFI during the London Film Festival:-http://www.babelgum.com/4005398/releasing-films-across-platforms-the-new-distributors-karol-marteskofenster.html

Art Film and Hollywood

Bordwell, D., 1979 The Art Cinema as a Mode of Film Practice, Film Criticism 4 (1) or chapter onArt-Cinema Narration in Narration in the Fiction Film, 1985

Caughie, J. with Rockett, K., 1996 The Companion to British and Irish Cinema, London: Cassell/BFI,166-200Cook, P., 1987 The Cinema Book, London: BFI, chapter on History of Narrative Codes; The

Classic Narrative System; and Alternative NarrativeSystems, 1999 edition Art Cinema section, 106-110

Crofts, S. Concepts of National Cinema, in The Oxford Guide to Film Studies,Hill and ChurchDe Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: AUP45-122Gibson, ed., 1998, Oxford: OUPHigson, A., 1995 Waving the Flag, Oxford: Clarendon Press, 4-25Hill and Church Gibson, ed., 1998 The Oxford Guide to Film Studies, Oxford: OUP, Part 3 WorldCinema: Critical ApproachesMiller, T. Hollywood and the World in Hill and Church Gibson (ed.), 1998, The Oxford Guide to FilmStudies, Oxford: OUPMiller, Govil, McMurria and Maxwell, 2001 Global Hollywood, London: BFI, 1-43Neale, S., 1981 Art Cinema as an Institution, Screen 22 (1)Nowell-Smith, G. Art Cinema in Nowell-Smith, G. (ed.), The Oxford History of World Cinema, Oxford:OUPWood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold, 1-42Wilinsky , B., 2001 Sure Seaters: The Emergence of Art House Cinema, Minneapolis: University ofMinneapolis Press, Introduction and ConclusionFor further research: The European Audiovisual Observatory: Articles, press releases and linksEuropean Audiovisual Observatorys Focus 2009: World Film Market Trends:

http://www.obs.coe.int/online_publication/reports/focus2009.pdf

Theories of Authorship

Armes, R., 1974 Film and Reality, London: Penguin, Part 3Bazin, A., 1974 What is Cinema? California: UCP

Bordwell andThompson, 1990Film Art, New York: McGraw-Hill: Part II Film Form, Part III Film Style

Caughie, J., ed., 1981 Theories of Authorship, London: BFI, especially Introduction, Ideas ofAuthorship, The Death of the Author, What is an Author?

Cook, P., 1987 The Cinema Book, London: BFI, Authorship and Cinema;Bazin: 114-183, 224-229, 1999 edition, 235-241, 282-315

Ellis, J., 1988 Visible Fictions, London: Routledge, 124-210Elsaesser, T., 1994 'Literature after Television: Author, Authority, Authenticity' in Thomas Elsaesser,Jan Simons, Lucette Bronk (eds) Writing for the Medium,Amsterdam: AUP.Hillier, J., 1996 Cahiers du Cinema, Vol. I: The 50s, London: RoutledgeKaplan, E.A., 1983 Women and Film, London: Methuen, Ch. 10-15Lapsley and Westlake, 1988 Film Theory: An Introduction, Manchester: UMP, 105-129, 150-181, 1-

128Nelmes, J. 2011 Introduction to Film Studies,London: Routledge, Section 6
http://www.obs.coe.int/online_publication/reports/focus2009.pdfhttp://www.obs.coe.int/online_publication/reports/focus2009.pdfhttp://www.obs.coe.int/online_publication/reports/focus2009.pdf


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Nichols, B., ed. 1976 Movies and Methods, Berkeley: UCP, Vol. 1, 273-289, 529-541Perkins, V.F., 1993 Film as Film, DA Capo PressPhillips, P. Genre, Star and Auteur inAn Introduction to Film Studies, Nelmes, J., ed., 1996, London:Routledge, 150-163

Stoddart, H. Auteurism and film authorship in Hollows and Jancovitch, eds., 1995,Approaches toPopular Films, Manchester: MUPPersistence of Vision: special issue on Orson Welles 7, 1989Wollen, P., 1982 Readings and Writings, London: Verso, 49-63Wollen, P., 1982, 1998 Signs and Meanings in the Cinema, London: BFIWood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold, 24-66

Theories and Forms of Realism Including Italian Neo-Realism

Armes, R., 1970 Patterns of Realism, New York: A.S. BarnesArmes, R., 1974 Film and Reality, London: Penguin, Part 3Bazin, A., 1974 What is Cinema? Berkeley: UCP, 9-52Bordwell and Thompson, 1990 Film Art, New York: McGraw-Hill, Italian Neo-Realism (1942-1951),

477-479Cook, P., 1987 The Cinema Book, London: BFI, Italy and Neo-Realism; Authorship in ArtCinema; Bazin: 36-39, 114-118, 222-241De Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam:AUP, Section on Venice festivalHallam, J. & Marshment, M., 2000 Realism and Popular Cinema, Manchester: ManchesterUniversity Press, 186-96, Space, place and identity: Reviewing social realism.Hillier, J., ed., 1985 and 1986 Le Cahiers Du Cinema, various volumes, Cambridge, Mass: HUPKaplan, E.A., 1983 Women and Film, London: Methuen, Ch. 10-15Lapsley and Westlake, 1988 Film Theory: An Introduction, Manchester: UMP, 150-181, 1-128Leihm, M., 1984 Passion and Defiance, Berkeley: UCPLovell, T. Sociology of aesthetic structure and contextualism in McQuail, ed., 1972, Sociology ofMass Communications, Middlesex: Penguin

Perry, T., 1979 Roots of Neorealism, Film Criticism3 (2), WinterRosen, P., ed., 1986 Narrative, Apparatus, Ideology, Columbia: UCP, 179-197, 379-420Vitali & Willeman, 2006 Theorising National Cinema, London: BFI, 1-71Wagstaff, C. 1992 Comic Positions, Sight and Sound, 2(7)Williams, C., 1980 Realism and the Cinema, London: BFI, 17-88, 111-192Wollen, P., 1982 Readings and Writings, London: Verso, Section 4Wood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold, 43-49, 80, 121-124Zavattini, C., 1953 Some Ideas on the Cinema in Wilson, D., ed., Sight and Sound

French New Wave

Armes, R., 1970 The French Cinema Since 1940, Vol. 2, New York: A.S. BarnesBordwell and Thompson, 1990 Film Art, New York: McGraw-Hill, Abstract Formal Systems; French

Impressionism and Surrealism (1918-1930); Alternatives to Continuity Editing: 119-131, 462-466,277-283Cook, P., 1987 The Cinema Book, London: BFI, 212-220; 1999 edition: 114-115, The NewWave in French Cinema; Authorship in Art Cinema; Bazin: 40-42, 114-183, 224-229; 1999edition: 117-118, 253-256Corrigan & White (2009) The Film Experience: An Introduction, Bedford: St. Martins, 405-453De Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: AUP,section on CannesFotiade, R.V. The Untamed Eye, Screen, 36:4, Winter 1995Graham, P., ed. 1968 The French New Wave, New Jersey: DoubledayHarvey, S., 1980 May 68 and Film Culture, London: BFI, 3-44, 87-165Hayward, S., 1993 French National Cinema, London: RoutledgeHayward and Vincindeau, ed., 2000 French Film: Texts and Contexts, London Routledge, 142-212

Hillier, J., ed., 1985 and 1986 Le Cahiers Du Cinema, various volumes, Cambridge, Mass: HUP


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Jancovich, M. Screen Theory in Hollows and Jancovich, eds., 1995,Approaches toMacCabe, C. ed., 1980 Images, Sounds, Politics, London: BFILovell, T., 1983 Pictures of Reality: Aesthetics, Politics and Pleasure, London: BFIMonaco, J., 1976 The New Wave, New York: OUP

Nowell-Smith, G. (ed.) 1997 The Oxford History of World Cinema, Oxford: OUP 750-759Wollen, P. 1982 Reading and Writings, London: Verso, 79-91, 189-207Wood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold, 67-114

General Avant-Garde Film

Brakhage, S., 1992 Film at Wits End, New York: McPherson & CoCook, P., ed., 1999 The Cinema Book, London: BFI, 114-120Dickinson, M., ed., 1999 Rogue Reels, London: BFICurtis, D., 1971 Experimental Cinema, New York: Dell Publishing, 11-49, 50-154Adams Sitney, P., ed., 2000 Film Culture ReaderErens, P., ed., 1990 Issues in Feminist Film Criticism, Indiana: IUP Intro, 250-309Gidal, P., ed., 1978 Structural Film Anthology, London: BFIHorak, J.-C.,1996 Lovers of Cinema, Wisconsin: UWP

Kuhn, A., 1982 Womens Pictures, London: Routledge and Kegan Paul, 156-200Lehman, P. The Avant Garde, in Mellencamp and Rosen (eds.), Cinema Histories, CinemaPractices, 1984, Los Angeles: AFIMcDonald, S., 1993 Avant Garde Film, Cambridge: CUPMulvey, L., 1989 Visual and Other Pleasures, Indiana: IUPRees, A.L., 1999 A History of Experimental Film and Video, London: BFI 1-76Sitney, P.A., 1975 Visionary Film: The American Avant-Garde 1943-78, Oxford OUPSitney, P.A. ed., 1978 The Avant-Garde Film, New York: American Federation of the Arts, 22-59, 51-138Wollen, P., 1982 Readings and Writings,London: Verso, Sections 1 and 2Wollen, P., 1993 Raiding the Icebox, London: VersoPeriodicals: Millennium Film Journal, Afterimage, Undercut, Film Culture, ScreenVarious NFT Programmes 1986-1991,London: BFIVarious, 1976 A History of the American Avant-Garde Cinema, New York: American Federation ofthe ArtsExpressionism

Bordwell and Thompson, 1990 Film Art, German Expressionism, 459-462Cook, P., 1987 The Cinema Book, London: BFI, German Expressionism and the GermanFilm Industry; Genre: Film Noir; Authorship and Cinema: Fritz Lang, 32-33, 93-99, 123-126Corrigan & White (2009) The Film Experience: An Introduction, Bedford: St. Martins, 405-453Donald, J., ed., 1989 Fantasy in the Cinema, London: BFIEisner, L., 1975 The Haunted Screen, Berkeley: UCPEisner, L., 1977 Fritz Lang, Berkeley: UCPEisner, L., 1983 F.W. Murnau, Berkeley: UCPElsaesser, T. Film History and Visual Pleasure: Weimar Cinema in Mellencamp and

Elsaesser, T., 2000 Weimar Cinema and After, London: RoutledgeGay, P., 1968 Weimar Culture, London: PenguinGunning, T., 2000 The Films of Fritz Lang,London: BFI, 1-11, 52-192Knight, J. New German Cinema, inAn Introduction to Film Studies, Nelmes, J., ed., 2001, London:RoutledgeKracauer, S., 1974 From Caligari to Hitler, New Jersey: Princeton, 61-87Rosen, eds., 1984 Cinema Histories, Cinema Practices, Los Angeles: AFIWillett, J., 1970 Expressionism, New York: McGraw-HillWillett, J., 1978 The New Sobriety, London: Thames & Hudson, Chs. 5, 15Early Soviet Experimentation

Christie and Gillett, 1978 Futurism/Formalism/Feks, London: BFICook, P., 1987 The Cinema Book, London: BFI, Soviet Cinema; Industry and Aesthetics;Soviet Cinema of the 1920s; 34-36, 218-219 Bordwell and Thompson, 1990 Film Art, New York:McGraw-Hill, 413-417, The Relation of Shot to Shot: Editing; Soviet Montage (1924-1930)Eisenstein, S., 1957 Film Form, Film Sense, New York: Meridian, 72-83


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Eisenstein, S., 1986 Film Sense, London: Faber and FaberHarvey, S., 1980 May 68 and Film Culture, London: BFI Section 2Joyce, M. The Soviet Montage Cinema of the 1920s inAn Introduction to Film Studies,Nelmes, J., ed., 1996, London: Routledge 329-364

Lapsley and Westlake, 1988 Film Theory: An Introduction, Manchester: MUP, 181-220Lawton, A. ed., 1992 The Red Screen, London: RoutledgeLeyda, J., 1973 Kino: A History of Russian and Soviet Film, London: Allen and UnwinMacdonald, K. and Cousins, M. Imagining Reality, London: Faber & Faber, 48-69Michelson, A. ed., 1984 Kino-Eye: the Writings of Dziga Vertov, London: PlutoPudovkin, V.I., 1970 Film Technique and Film Acting, New York: RandomWollen, P., 1972 Signs and Meanings in the Cinema, London: Secker & Warburg 19-73Wollen, P., 1982 Readings and Writings, London: Verso, 65-79

Surrealism

Bunuel, L., 1994 My Last Breath, London: VintageCook, P., ed., 1999 The Cinema Book, London: BFI, 114Hammond, P. ed., 1991 The Shadow and its Shadow, London: BFIHarcourt, P., 1976 Six European Directors, London: Penguin, Ch. 4Keller, M., 1986 The Untutored Eye, New Jersey: AUPOPray, M. 1992 Overwhelming Bodies, Sight and Sound, December 2(8)Willett, J., 1978 The New Sobriety, London: Thames and Hudson, Ch. 7, 8, 15

Indian Cinema

Banker, A., 2001 Bollywood, London: Pocket EssentialsCook, P., ed., 1999 Op. Cit., 130-136Corrigan & White (2009) The Film Experience: An Introduction, Bedford: St. Martins, 405-453Chatterjee, G., 2002 Mother India: BFI Film Classics, London: BFIJoshi, L.M., ed., 2002 Bollywood: Popular Indian Cinema, Dakini BooksKabir, N.M., ed., 2003 Bollywood Dreams, London: Phaidon Press

Kasbekar, A. Indian Cinema in Nelmes, J., ed., 2001,An Introduction to Film Studies,London:RoutledgeMishra, V., 2002 Bollywood Cinema: Temples of Desire, London: RoutledgeRajadhyaksha, A. Indian Cinema: Origins to Independence, India: Filming the Nation inNowell-Smith, G., ed., 1997, The Oxford History of World Cinema, Oxford: OUPRajadhyaksha, A. Indian Cinema in Hill and Church Gibson ed., 1998, The Oxford Guide to FilmStudies, Oxford: OUPRajadyaksha and Willeman, ed., 1999 Encyclopaedia of Indian Cinema, London: BFIVitali & Willeman, 2006 Theorising National Cinema, London: BFI, 262-273

General Post Colonial Cinemas - African Cinema Case History

Cook, P., ed., 1999 The Cinema Book, London: BFI, 120-129

Corrigan & White (2009) The Film Experience: An Introduction, Bedford: St. Martins, 405-453Hill, J. and Church Gibson, P., ed., 1998 The Oxford Guide to Film Studies, Oxford: OUP, WorldCinema Section: 413-425, 569-578bell hooks Black Looks - Race and Re(Turnaround, 1992)Diawara, M., 1992 African Cinema - Politics and Culture, Indiana: UCPDiawara, M. 1993 New York and Ouagadougou, Sight and Sound3(11)Dissanayake, W. Issues in World Cinema in Hill and Church Gibson (ed.) 1998,The Oxford Guide to Film Studies, Oxford: OUPCham and Bakari, ed., 1996African Experiences of Cinema, London: BFIDowning, J.D.H., ed., 1987 Film and Politics in the Third World, London: AutonomediaFanon, F., 1986 Black Skin, White Masks, London: Pluto PressGabriel, T.H., 1982 Third Cinema in the Third World, Michigan: UMI Research PressMartin, A., ed. African Films: The Context of Production BFI Dossier No. 6, London: BFI

Ngayare, L. in Shiri, K.(ed.), 1993Africa at the Pictures, London: NFT, 12-26Said, E.M., 1978 Orientalism, New York: Pantheon


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Snead, J., 1988 White Screen Black Images: Hollywood From the Dark Side, London: RoutledgeShohat and Stam, 1997 Unthinking Eurocentricism, London: RoutledgeSolanas, F. and Getino, O. 1971 Towards a Third Cinema, in Nichols, B. (ed.) 1976, Movies andMethods, Vol. I, Berkeley: UCP

Ukadike, N.F., 1994 Black African Cinema, Cambridge: UCPWilleman and Pines, 1989 Questions of Third Cinema, London: BFI, 30-50Williamson, J., 1988 Two Kinds of OthernessBlack Film and the Avant-Garde, Screen29 (4) and other articles in this edition

Cinema in small countries

De Valck, M. 2007 Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: AUP,ConclusionFinney, A., 1996 The State of European Cinema, London: Cassell 1-15Hill and Church Gibson (ed.) 1998 The Oxford Guide to Film Studies, Oxford: OUP 595-612McArthur, C. The Cultural Necessity of Poor Cinema in Border Crossing, 1994, ed., HillMcLoone, Hainsworth, McLoone, M. Ireland and Cinema in The Oxford Guide to Film Studies, 1998,

ed., Hill and Church GibsonNeve, B. Film and Northern Ireland: beyond the Troubles in European Identity in Cinema,1996, ed. EverettStam, R., 2000 Film Theory: An Introduction, Oxford: Blackwell, 314-330Vitali & Willeman, 2006 Theorising National Cinema, London: BFI, 88-99, 292-303Wood, M P, 2007 Contemporary European Cinema, London: Hodder Arnold, 152-173

GUIDE TO ADDITIONAL RESOURCESPERIODICALS, NEWSPAPERS, DOCUMENTARIES AND THE INTERNET

This is an academic module on a degree course so you are expected to use academic texts as thebasis for your research. These academic texts are listed in the Bibliography; begin your research with

the weekly set reading, and then broaden out into the Bibliography.

You may find articles in newspapers, documentaries and the Internet useful for background (onrelevant film movements and film makers) but do not rely on them for analysis. They are not a shortcut to proper research for essay writing. They can be used WITH set readings and further researchfrom the Bibliography, but not as a SUBSTITUTE.

Take care to reference fully and thoroughly if you use such material. Documentaries may give you afeel for a film or artmovement, film-maker or historical period, but they are often part of the publicitycampaign for a film and therefore will not offer any analysis. Open University documentaries andprogrammes are the exception to this rule, as are some of the British Film Institute (BFI)documentaries.

The Guardian, Independent andTime Outcould also provide background and will in some casesdiscuss topics such as the state of art cinema. There may be some discussion of film form in thereviews. They will review the latest art film releases often ignored in the tabloid media. You maywant to ask yourself Why?. However, you need to remember that the reviews and articles arewritten by critics who are often employed for their personal opinions and tastes; they are notacademics and will not offer rigorous analytical approaches. They may concentrate merely on thefilms narrative and say little about its visual style and form. This material should not be taken at facevalue, but it is perfectly acceptable to analyse it, as analysis of taste is relevant to this module.

You have to ask yourself Who?, What?, Where?, When? and Why? for any of yoursources, but especially mass circulation media.

The Internet is especially tricky, as there is no editorial control and you will have to check ANY

information you gain from this source (so it could be counterproductive if you are looking for a fastresearch tool). The Internet Movie Database is a useful source for production information, but this


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may not have any relevance whatsoever to the essay or exam questions; it is also often inaccurate.The British Film Institute is developing its site and it is becoming more of a useful tool to theresearcher. Another Internet issue is raised by either official and unofficial film or director sites.Official film sites are trying to sell you the film, the film-maker and create a brand image. These sites

are only of use if you ANALYSE them and in most cases will be totally irrelevant to essay and examquestions. The same applies to unofficial sites. However, many avant-garde film-makers and someart film-makers and movements (e.g. Dogme 95) regard the Internet as a new way to reachaudiences, so be aware and critical. Periodicals and newspapers may be available online: TheGuardianhas an extensive online film site, as has Sight and Sound.

Recommended periodicals would be titles such as the BFIs Sight and Sound(incorporating the oldMonthly Film Bulletin), which has reviews and production information on monthly mainstream, art andsome avant-garde film releases. It also carries useful features on film-makers and movements, whichbegin to address analyses of film form, content and context. Filmwavesis also useful for low budget,independent film, some of which is avant garde. The Millennium Film Journalhas been around sincethe 1970s as a forum for avant-garde film-makers and theorists.

Section 5:

Assessment details

Coursework 1Project 40% (circa 1500 words or equivalent)DUE WEEK 29A self-designed project, where you demonstrate analysis and synthesis of module materials.Critically analyse the material and relate to your own practiceSuggestions:1) A shot by shot description and analysis of a short (6 shots max) sequence of film with

discussion of production arrangements or context.2) Compare and contrast a key sequence from a mainstream and independent or art filmwith discussion of production arrangements or context.3) Narrative synopsis of 5 films/television programmes for press packs.4) Mise-en-scene analysis of 5 film/television stills with discussion of productionarrangements or context.5) Analysis of cinematography of 5 film/television stills with discussion of productionarrangements or context.

Coursework 2Portfolio 60% (circa 2500 words or equivalent)

DUE WEEK 29 In this submission you demonstrate your ability to research, analyse and present avariety of relevant material across a range of media.

Demonstrate understanding of media industry structures, models of production and linkcritical research to your own practice

The written component (2500 words) which should include annotated material supportingthe development and writing of your portfolio and interviews where possible.

Link the research and interviews to your own practiceChoose ONE from:1) Compile an analytical case study of a media professionals career (producer, director,writer or other). This should include an interview with your subject.2) Develop a comprehensive investigation and analysis of the production background of a

feature film or television programme/series of your choice. This could include interviews withproduction staff.


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3) Compile a case history of a particular British film or television production companyincluding its distribution and exhibition arrangements. This could include interviews withcompany staff.4) Compile a case history of a European film or television festival. This could include

interviews and/or log and analysis of your own participation.5) Compare and contrast the funding arrangements for a feature and low budget film. Thiscould include interviews with company staff.6) Develop a comprehensive press pack for your films from the Studio module this year withwritten rationale, outlining the research for and construction of your press pack.7) Compile an analysis of your participation in film or television project outside universitysuch as a work placement, employment or internship. This must be agreed with your tutorand contents must include: analysis of the company and its position in the film or televisionindustry, log of work undertaken, analysis of work undertaken, written employers report,rationale explaining how this contributes to your career and interviews where possible.

The main skills being tested in this assignment are those of observation, research and analysis. You

should begin your preparation by watching your chosen film, then reading the relevant set readingsfrom the Module Booklet. Follow up with the further reading, especially Bordwell and Thompsonsexplanations of film form and style. You will then need to choose a SHORT section of film (no morethan 3 minutes maximum). Using the grid suggested in Weeks 1 and 2 describe the MISE-EN-SCENE,CINEMATOGRAPHY, EDITING and SOUNDin every single shot of the sequence, so it is a good ideato choose a short sequence of shots. This will provide the ROUGHmaterial for your essay and shouldnot be submitted as notes.

To write the actual essay you will need to summarise the NARRATIVEof the film, explain the functionof the sequence chosen within the narrative, then describe the form and style shot-by-shot. You willneed to view this film text in terms of module material and use these to draw out, dissect and evaluateits content, structure and presentation.

LEARNING OUTCOMESOn successful completion of this module students will be able to:

Analyse and understand the dynamics underlying changing patterns of production, marketingand consumption of cinema and television in economy and society.

Understand and outline the organisational structure of various modes of film & televisionproduction

Show awareness of the imperatives and constraints that operate in real world media contentproduction.

Present work across a variety of media in a professional fashion.

Assessment Criteria

a. Application and engagement (effort, research, progress, care)

b. Quality of content (research, analysis, accuracy, relevance, scope, references)

c. Quality of presentation (English, English, research, analysis, correct referencing, terminology)

d. Effective structure (English, clarity, research, analysis, synthesis)

e. Understanding of media industry structures, models of production and linking critical researchto own practice (research, analysis, synthesis, practice, planning and organization)

All coursework requires internal referencing and bibliography consisting ofat least 6 published texts.

All work uploaded to WebLearn must be saved as a Word document. All

word processing software (Pages, Open Office etc.) allows the user to saveas a Word document.


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You can sign up for tutorials in addition to those scheduledsee tutorcounselling hours.

All work must be submitted on time.REASSESSMENTS WILL BE SUBJECT TO A FINAL GRADECAPPED AT 40%.COURSEWORK CONSISTING WHOLLY OR MAINLY OFQUOTATIONS FROM REFERENCED OR UNREFERENCEDSOURCES WILL FAIL.HARVARD REFERENCING MUST BE USED THROUGHOUTCOURSEWORK

GENERALINFORMATIONABOUTWRITINGCOURSEWORKFORMD5004

DO NOT USE INTERNET SITES AS BASIC REFERENCE MATERIAL. In fact avoid them.They are invariably inaccurate, non-academic, full of utterly irrelevant and trivial material withABSOLUTELY NO RELEVANCE WHATSOEVER TO ANY QUESTION SET . You MUSTusemodule material (references and films) as a basis for research. This module offers thesedebates and ideas for discussion and investigation, which can only be undertaken if you haveWATCHED THE FILMS AND READ THE MODULE MATERIAL.

You cannot write coursework without watching the relevant films. There is no short cut. If youhave trouble getting hold of the film you want, choose another film or ask advice immediately.Putting off watching the film does not help, as you can only see how the film fits in with thequestion if you have a good knowledge of the film itself and the module topic raised in the

question. All questions refer to debates and issues raised in the weekly lecture. You cannot tackle an

essay question without attending the relevant lecture or at the very least accessing thoroughand well written lecture notes. If you want support with note taking then please contact theCENTRE FOR LEARNING AND TEACHING, https://metranet.londonmet.ac.uk/celt/celt-for-students/

All coursework MUST be written in clear and concise English with a coherent argument anduse of through referencing. If you would like support with this then please contact CENTREFOR LEARNING AND TEACHING, https://metranet.londonmet.ac.uk/celt/celt-for-students/

The first coursework requires a CLOSE ANALYSIS of a film text (in terms of mise-en-scne, cinematography, editing and sound) from at least one film from the module.Choose a short sequence that you think is indicative of the entire film (from 1 to3 minutes depending on the detail of your analysis) and look closely at the sequence,

shot by shot. For each shot you should try to note the action of characters (theirexpressions, accent, posture, dress, make-up, hair, acting style), the location, setting anddecor, lighting, camera angle, placement and movement, shot framing, shot length andshot transition, plus sound. Then analyse the effect: simple description is NOT analysis.This may mean summarising the important aspects of your close analysis (or analysing aSHORT piece of film). Reproducing dialogue is NOT a close analysis of a film text.Repetition of other analyses (unless fully referenced for comparison with your own) isPLAGIARISM and therefore totally unacceptable. NB: this should be in essay form (notnotes of your shot-by-shot breakdown) and answer the essay question IN FULL.

The essay questions revolve around issues of film form, and context in popular and art film.You are being asked to explore the typical visual style and form of specific film movements andin the work of specific film-makers and ask yourself how? and why? these developed.

You will need to think about the relationship between the visual style of a movement and itshistorical context, domestically and globally. This could include the wider macro-historicalissues of social, economic or political structure, events and changes, or may be more focused


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on micro-historical issues of the state of the film industry, its organisation, technologies andeconomics. These sets of factors come together when considering the film movement ormaker in relation to their audiences, who were affected by and affected the macro and themicro contexts. You will need to think of these issues when considering also what role

authorship played in developing the style, if any. If you are unaware of the relevant historical period (such as the First World War and its

relationship to German Expressionism) then it is your responsibility to research it further thanthe basic outline given in the lecture. The lectures will also point out different analyticalapproaches that have developed around authorship and the film movements; again it is yourresponsibility to develop your research from these basic outlines. You will find that in somecases theorists have privileged a certain issue when analysing a film movement: such asauthorship or political or social or economic or technological or industrial or audience context.Different theorists will make different emphases; it is up to you to watch the films, do your ownhistorical research and weigh up the theories.

Then focus on the question you are addressing and use your close analysis to answer thespecific question. The description of a films textual detail and its analysis is a piece of yourown original research, for which you will gain credit in your essay and exam mark (although you

may tend to find the same things as other analysts). Begin planning early. If you already have a preference (perhaps you like German Expressionism

for instance) book out the relevant readings and films from the Library as soon as possible. Do the weekly Set Reading for each movement in advance so that you can participate in the

Seminars. This will help you to decide on an essay question. Use the Library to develop yourresearch beyond the Set Readings.

Look at the question. Each question refers to a specific week of the module, its Lecture, Seminarand weekly Set Reading.

The relevant lecture should set out key topics, issues, debates, authors and film texts. Look atyour lecture notes and use them as the basis for your research.

What are the key terms of the question? What issues and debates do they raise? Who are therelevant authors and theorists? Take time to think about the question and how it relates to yourchosen film.

Have you read the relevant Set Reading and made notes? Can you refer to your notes byauthor, date of publication and page reference?

Have you watched the relevant film or films? Make sure your chosen film is relevant to thequestion. If the question is about Soviet Montage (1924-30), then you must use a Russianmontage film, from the 1924-30.

Once you have viewed the film through once you can choose a SHORT representative section.Use this for your close film analysis.

DISTINGUISH FILM TITLES: use of underlining or italics are acceptable. Do not forget to includedate, director and place of production.

Structure your essay with an Introduction; Body of the essay; Conclusion; Bibliography. Yourclose film analysis should be placed in the body of the essay. You are using this as your data orevidence around which you develop the issues and debates.

If you are worried about how to do a close analysis, discuss this in the Seminars and discussions.The Seminars are there for you to practise close analysis. If you are unsure about how to write or use a close analysis in an essay, then see how it is done

in the Set Reading. Bordwell and Thompson offer sample close analyses; see how they do it.The 7thedition of Film Arthas an accompanying booklet outlining ways to write film essays. It isperfectly reasonable to read and reference other analyses. However, it is PLAGIARISM topresent another analysis as your own.

Write the essay in draft, leave it and then go back to it and re-read. Simple mistakes will becomeapparent. Aim to write the essay in the third person, academic style.

Finalise the essay. If you are using a computer, then use the grammar and spelling tools. Do not leave either writing or printing to the last minute. Something will always go wrong and

COMPUTER FAILURE IS NOT A MITIGATING CIRCUMSTANCE. Save each paragraph as yougo. Save to disk with perhaps even another back-up disk as you go. Print each page out as you

finish (even in draft form). If your printer is unusable (or the college system goes down) for anyreason, you can get print-out from disk in most photocopying shops.


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Include a complete COVER SHEET with your essay. If you do not fill it in correctly and fully youressay may not reach your tutor.

Place the COVER SHEET AT THE FRONT OF THE ESSAY . Please DO NOTput courseworkinside complex bindings as they have to be marked and photocopied.

Coursework that relies too heavily on Lecture notes will probably be given a FAIL grade.You must do your own research and viewing. Coursework that is not referenced internally will also probably be given a FAIL grade. You

must reference ideas, debates and information. Coursework without a Bibliography will also probably be given a FAIL grade. You must

include a full Bibliography (with full website addresses if you use the Internet).

These are just some tips: if you have specific questions then please bring them up in the Seminars.If you are in the least confused or lack confidence about the essay, then speak to your tutor or theModule Leaderwe want to help you achieve the best possible grade for the essay.

SUBMISSION DEADLINES AND FEEDBACK DETAILS

WEEK 3, 4 Individual tutorialsWEEK 7 Online Submission of coursework proposal forms with plans andbibliographies for written proposal feedback

WEEK 12 Online Submission of coursework 1st draftswritten feedback.WEEK 15 Online Submission of coursework 1st draftsWEEK 16 Feedback tutorialsWEEK 18 CELEBRATION WEEK

Feedback tutorialsWEEK 24 Online WebLearn submission of FINAL project and portfolio for

feedbackWeek 25 Individual tutorials

Week 28 Project and portfolio feedbackWeek 29 All work due via WebLearn and in hard copy WEDNESDAY 13THMay2015

GENERAL HANDING-IN PROCEDURESStudents should acquire a RECEIPT for ALL work submitted. Students work is normally the propertyof the University and will be returned under the current University Regulations. Please ask theModule Leader for more details. For security, students must keep a copy of all work handed in.

MITIGATING CIRCUMSTANCES AND LATE SUBMISSION OF WORKForms and details available from the UG Registry.

PLAGIARISM AND BREACHES OF ASSESSMENT REGULATIONSPLAGIARISM occurs when you present the ideas or words of someone else as though they were yourown.Plagiarism is treated very seriously and is a disciplinary offence. Plagiarised work is usuallydisqualified.

PLAGIARISM AND CHEATING - DEFINITIONCopying published writing without acknowledging this is plagiarism. Copying the work of otherstudents is cheating, and in some cases both the copier and the copied from may be held responsible.Both of these are breaches of regulations which can result in failing the work, failing the module,failing the Level or other penalties. Please consult University Regulations for more details.


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Section 6:Student Evaluationmethod for gathering

STUDENT MODULE EVALUATIONMODULE: MD5004 LEVEL: 5

COURSE: FILM AND BROADCASTPRODUCTION, MEDIA ARTS

DATE: 30/4/13

Module Feedback is important in offering an opportunity for reflection and discussion on each of theaspects of the modules that make up your course, meanwhile your comments are valuable to us andwill be used in planning.In small groups you are asked to consider the module in relation to the headings below. You shoulddiscuss your experience of each point and agree on your comments.Please make a note of1) The most positive aspects of the module

2) What you think could be improved upon3) Any ideas and suggestions you may have

Lectures, seminars and screenings

Tutorial support

Feedback

Organisation/design of the Module

Overall, please indicate 3 things about the module that were positive and 3 things thatcould be improved.Positive

1

2

3

Things that could be improved

1

2


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Sir John Cass Faculty of Art, Architecture & DesignLondon Metropolitan University

Timetabled Sessions:27

3

Please note any advice you would give to students who will be taking this module nextyear?

Please sign: _______________________ Name:_____________________

____________________________________________

____________________________________________

____________________________________________

____________________________________________

Date:

Many thanks for your comments we value your contribution and will consider yourfeedback in our planning meetings for next year.


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Sir John Cass Faculty of Art, Architecture & DesignLondon Metropolitan University

MD5004 Module Guide - Long Version 2014 15(1)

Documents