Cinescapes: Time, Space and Identity (EAF2508)

StaffDr Felicity Gee - Convenor
Credit Value30
ECTS Value15
NQF Level5
Pre-requisitesNone
Co-requisitesNone
Duration of Module Term 1: 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. Online study group meetings , online seminar work, and peer draft essay building 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, online seminar discussion, study groups, 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
  • Race and natural disaster
  • Sculpting in Time – Slowness and Cinema.  
  • History and Trauma - Key Themes: Nationhood, War, Race and Memory
  • Queer phenomenology
  • Spaces of the Everyday - Gender, Mental Health and the Social Landscape
  • Soundscapes, Voices, Bodies, Subjects

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 teaching16.5Online Lectures and dialogues
Scheduled learning and teaching22Online seminars and workshops, chat forums
Scheduled learning and teaching22Film screenings
Guided independent study33Online study 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
Peer reviewed draft of theoretical/philosophical paragraph for final essay – no more than 500 words. 5001-10Feedback 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
Essay or audio-visual 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
EssayEssay/Audio-visual essay1-10Referral/deferral period
Module participationRepeat study or Mitigation 1-10Referral/deferral period

Re-assessment notes

Deferral – if you miss an assessment for certificated reasons judged acceptable by the Mitigation Committee, you will normally be either deferred in the assessment or an extension may be granted. The mark given for a re-assessment taken as a result of deferral will not be capped and will be treated as it would be if it were your first attempt at the assessment.

Referral – if you have failed the module overall (i.e. a final overall module mark of less than 40%) you will be required to submit a further assessment as necessary. If you are successful on referral, your overall module mark will be capped at 40%.

Indicative learning resources - Basic reading

Indicative Viewing:

  • In the Mood For Love (Wong, 2000)
  • Somewhere  (Coppola, 2010)
  • Stalker   (Tarkovsky, 1979)
  • Hiroshima Mon Amour  (Resnais, 1959)
  • Nostalgia for the Light (Guzmán, 2010)
  • Uncle Boonmee Who Can Recall His Past Lives  (Weerasethakul, 2010)
  • 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 indicative  reading:

  • Gilles Deleuze – Cinema 1 and 2, Continuum (various editions)
  • 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

23/07/2020

Key words search

cinescapes, philosophy, time, space, identity, feminism, film sound, film theory, slow cinema, postcolonial cinema, race studies, queer studies