Cinescapes: Time, Space and Identity (EAF2508)

StaffDr Felicity Gee - Convenor
Credit Value30
ECTS Value15
NQF Level5
Pre-requisitesNone
Co-requisitesNone
Duration of Module Term 2: 11 weeks;

Module aims

  • To give students an informed appreciation and awareness of the rich and complex nature of contemporary film theory and philosophy, building on the theoretical debates addressed in level 1 (EAF1501). It uses films from a variety of geographical, cultural and historical locations in order to explore the complex relationship between film theory and film practice and to illuminate the ways in which film can function as an object of philosophical questioning.
  • To address questions of space and setting; the representation of time and its relation to history and memory; and the way in which film articulates and contests ideas concerning gender, sexuality and race. Lectures and seminar tasks will model research and interpretation that debates the relation between film theory, film philosophy and the films themselves, from debating various theoretical tools to close sequence analysis in films that both illuminate and problematise the terms of the debate. Study group meetings and prepared seminar presentations will give students the opportunity to develop their own approaches to the syllabus texts and other materials.

ILO: Module-specific skills

  • 1. You should be able to demonstrate an informed understanding of a number of key debates in contemporary film theory and an ability to apply theoretical and philosophical paradigms to film;
  • 2. You should be able to demonstrate an informed understanding of a variety of films relevant to theoretical debates in Film Studies;
  • 3. You should be able to demonstrate understanding of the role of films as sites for the construction and contestation of certain ideological and philosophical notions;

ILO: Discipline-specific skills

  • 4. You should be able to demonstrate an informed understanding of a number of key debates in contemporary film theory and an ability to apply theoretical paradigms to film
  • 5. You should be able to demonstrate an informed understanding of theoretical approaches to film and be able to use them to analyse a range of canonical and contemporary films
  • 6. You should be able to demonstrate an understanding of the role of films as sites for the construction and contestation of certain ideological and philosophical notions

ILO: Personal and key skills

  • 7. Through essay-writing, you should be able to demonstrate appropriate research and bibliographic skills, a capacity to construct a coherent, substantiated argument and a capacity to write clear and correct prose
  • 8. Through research for seminars and essays, you should be able to demonstrate proficiency in information retrieval and analysis
  • 9. Through research, seminar discussion, and essay writing you should be able to demonstrate a capacity to question assumptions, to distinguish between fact and opinion, and to critically reflect on their own learning process
  • 10. Through sequence analysis, you should be able to demonstrate an ability to analyse film as an audio-visual medium

Syllabus plan

Whilst the content may vary from year to year, it is envisioned that it will cover some or all of the following topics:

  • Film and Philosophy: An Introduction to Cinescapes – The Subjects of the City
  • The Postmodern City – Los Angeles
  • Postcolonial Spaces
  • Mapping Margins – Gangs, Ghettos and Violence
  • Sculpting in Time – Slowness and Soviet Cinema.  
  • The Road Movie
  • History and Trauma - Key Themes: Nationhood, War, Race and Memory
  • Cosmographies and Metaphysics – Philosophical Readings of Sacred Space
  • Spaces of the Everyday - Gender, Mental Health and the Social Landscape
  • Soundscapes, Voices, Bodies, Subjects
  • Of a Queer Space and Time

Learning activities and teaching methods (given in hours of study time)

Scheduled Learning and Teaching ActivitiesGuided independent studyPlacement / study abroad
82.5217.50

Details of learning activities and teaching methods

CategoryHours of study timeDescription
Scheduled learning and teaching16.5Lectures
Scheduled learning and teaching22Seminars
Scheduled learning and teaching44Film screenings
Guided independent study33Study group preparation and meetings
Guided independent study70Seminar preparation (individual)
Guided independent study 114.5Reading, research and essay preparation

Formative assessment

Form of assessmentSize of the assessment (eg length / duration)ILOs assessedFeedback method
Group project20 minutes1-10Feedback sheet with opportunity for tutorial follow-up individually

Summative assessment (% of credit)

CourseworkWritten examsPractical exams
90010

Details of summative assessment

Form of assessment% of creditSize of the assessment (eg length / duration)ILOs assessedFeedback method
Sequence analysis352000 words1-10Feedback sheet with opportunity for tutorial follow-up
Essay553000 words1-10Feedback sheet with opportunity for tutorial follow-up
Seminar participation10Continuous 1-10Oral Feedback with opportunity for office hours follow-up

Details of re-assessment (where required by referral or deferral)

Original form of assessmentForm of re-assessmentILOs re-assessedTimescale for re-assessment
Sequence analysisSequence analysis1-10Referral/deferral period
EssayEssay1-10Referral/deferral period
Seminar participationRepeat study or Mitigation 1-10Referral/deferral period

Indicative learning resources - Basic reading

Core Viewing:

  • Of Time and the City (Davies, 2008)
  • In the Mood For Love (Wong, 2000)
  • Repo Man   (Cox, 1984)
  • Somewhere  (Coppola, 2010)
  • Sin Nombre  (Fukunaga, 2009)
  • Kung-Fu Hustle   (Chow, 2004)
  • Stalker   (Tarkovsky, 1979)
  • Russian Ark   (Sokurov, 2002)
  • My Own Private Idaho   (van Sant, 1991)
  • Thelma and Louise  (Scott, 1991)
  • Hiroshima Mon Amour  (Resnais, 1959)
  • Nostalgia for the Light (Guzmán, 2010)
  • Uncle Boonmee Who Can Recall His Past Lives  (Weerasethakul, 2010)
  • The Tree of Life  (Malick, 2011)
  • Red Desert  (Antonioni, 1964)
  • A Woman Under the Influence  (Cassavetes, 1974)
  • Klute  (Pakula, 1971)
  • Under the Skin  (Glazer, 2014)
  • Orlando  (Potter, 1992)
  • Boys Don't Cry  (Peirce, 1999) 

Basic reading:

  • Linda Williams and Christine Gledhill, eds.,  Reinventing Film Studies  (Oxford University Press, 2000)
  • Mark Shiel,  Cinema and the City: Film and Urban Societies in a Global Context  (Blackwell, 2001)
  • Andrei Tarkovskii,  Sculpting in Time: Reflections on the Cinema  (University of Texas Press, 1987)
  • Michel de Certeau, Michel. The Practice of Everyday Life. Trans. Steven Rendall. (Berkeley: University of California Press, 2008)
  • Allan Casebier,   Film and Phenomenology: Toward a Realist Theory of Cinematic Representation. (Cambridge: Cambridge University Press, 1991)
  • Judith Butler, Gender Trouble: Feminism and the Subversion of Identity. (New York: Routledge, 1990)
  • Gilles Deleuze, Cinema 2: The Time Image (London: Continuum, 2005)
  • Cathy, Caruth, Unclaimed Experience: Trauma, Narrative and History (Johns Hopkins U Press, 1996))
  • Yvette, Bíro, Yvette Turbulence and Flow in Film: The Rhythmic Design. Trans. Paul Salamon. (Bloomington and Indianapolis: Indiana University Press, 2008)

Module has an active ELE page?

Yes

Indicative learning resources - Web based and electronic resources

 

Available as distance learning?

No

Origin date

01/10/2011

Last revision date

23/10/2018

Key words search

cinescapes, philosophy, time, space, identity, feminism, film sound, film theory, Soviet Cinema, postcolonial cinema