| Module Identifier |
TF30920 |
| Module Title |
ALTERNATIVE CINEMA |
| Academic Year |
2004/2005 |
| Co-ordinator |
Dr Ernest Mathijs |
| Semester |
Semester 1 |
| Pre-Requisite |
TF10220 |
| Course delivery |
Seminars / Tutorials | 5 x 1 hour |
| |
Other | 10 x 2 hour |
| |
Lecture | 10 x 2 hour |
| Assessment |
| Assessment Type | Assessment Length/Details | Proportion |
|---|
| Semester Assessment | 3 part portfolio (20 item dossier and 1500 word reflection)
For information on due dates for submission of assessed work, please refer
to the departmental web pages at http://www.aber.ac.uk/tfts/duedates.shtml
| 60% |
| Semester Assessment | 3500 word essay | 40% |
|
Learning outcomes
Typically, upon completion of this module students will be able to identify and analyse style in alternative films,
work with the concept of ?reading against the grain? in studying alternative film
analyse specific instances of reflexivity in alternative films and relate these instances to other elements of the films
make use of reception and audience practices in studying alternative film
) make critical use of relevant reading in support of other learning outcomes
Content
This module introduces students to the practices and reception of what is known as 'Alternative Cinema'. A first part of the module is devoted to a historical overview of alternative cinema in its diverse appearances. Special attention will be paid to questions of style and the avant-garde (using Artaud'r concept of theatre of cruelty). We will also concentrate on how quasi-mainstream cinema (rive gauche cinema, art-house cinema) evokes alternative readings through so called 'reading against the grain'. 'un chien andalou', 'royaanisqatsi', and 'rive gauche cinema' (Alain Resnais, Alain Robbe-Grillet) will be used as case studies. A second part of the module is devoted to the concept of reflexivity (films commenting on their own premisses), that runs throughout alternative cinema, and to the practices of alternative readings of reflexive cinema. Specifically, the module will focus on critical practices in alternative reading, and on reading practices that different audiences (fans, unintended viewers) employ. 'r.', 'The Texas Chainsaw Massacre', 'Daughters of Darkness', and the films of David Cronenberg ('Stereo', 'Shivers', 'Rideodrome', 'The Fly', and 'Crash') will be used as case studies.
Indicative sessions might include:
1) Introductory: style and 'reading against the grain' in studying alternative film
2) Avant-Garde cinema
3) US Underground Cinema
4) Jean-Luc Godard: Art Cinema and auteurship
5) Genre as Alternative Cinema: The Horror Film
6) American Independent Cinema
7) Between Genre and Art: David Cronenberg
8) Beyond Conventions of Taste: paracinema
9) Cult Cinema: Theoretical Concepts
10) Cult Cinema: Tracing a Film's Reputation
Aims
The aim of this module is to introduce students to the practices and reception of what is known as 'rlternative cinema?. It does this in the following way:
1) it presents a historical overview of alternative cinema, with special attention to questions of style and the avant-garde
2) it discusses how alternative cinema evokes alternative readings through so called 'reading against the grain?
3) it studies the concept of reflexivity (films commenting on film), and the practices of alternative readings of reflexive cinema.
4) it focuses on critical practices in alternative reading, and on reading practices that audiences (fans, unintended viewers) employ.
Reading Lists
Books
** Recommended Background
Telotte, J. P. (ed) (1991) The Cult Film Experience. Beyond All Reason
Mathijs, Ernest (2002) 'The Making of a Cult Reputation: Topicality and Controversy in the reception of Shivers' (forthcomnig in M. Jancovich et al (eds) Cult Movies; the Cultural Politics of Oppositional Taste
Manchester UP
Polan, Dana (1978) 'A Brechtian Cinema? Towards a Politics of SelfReflexive Film' in Nicholas, B. (ed) Movies and Methods ii
Berkeley: UCP
Rees, A. I. (1999) A History of Experimental Film and Video
London: BFI
Rodley, Chris (1997) Cronenberg on Cronenberg
London: Faber & Faber
Carroll, Noel (1998) Interpreting the Moving Image
Cambridge UP
Harper, G & X. Mendix (eds) Unruly Pleasures: the Cult Film and its Critics
Guilford: FAB Press
Jenkins, Henry (2000) 'Reception Theory and Audience Research', in C. Gledhill & L. Williams (eds) Reinventing Film Studies
London: Arnold
MacDonald, Scott (1993) Avant-Garde Film: Motion Studies
Cambridge University Press
Beard, William (2001) The Artist as Monster: The Cinema of David Cronenberg
Toronto: Toronto University Press
Barker, Martin, Jane Arthurs & Ramaswami Harindranath (2001) The Crash Controversy
London: Wallflower Press
Marchetti, Gina (1986) 'Subcultural Studies and the Film Audience: Rethinking the Film Viewing Context' in Bruce Austin (ed) Current Research in Film (vol.2)
Norwood (NJ)
Grant, Michael (ed) (2000) The Modern Fantastic: the films of David Cronenberg
Trowbridge: Flicks Books
Staiger, Janet (2000) Perverse Spectators; the Practices of Film Reception
New York: New York UP
Stam, Robert (1985) Reflexivity in Film and Literature
New York: Columbia UP
Bermel, Albert (1977) Artaud's Theatre of Cruelty
London: Methuen
Journals
Bordwell, David (1979) 'The Art Cinema as a Mode of Film Practice'; in Film Criticism. Vol.4, Nr. 1
Jeffrey Sconce (1995) 'Trashing the Academy: Taste, Excess and an Emerging Politics of Cinematic Style' in Screen Vol.36 Nr. 4
Austin, Bruce 'Portrait of an Art Film Audience' in Journal of Communication. Vol 34, Mr. 1
Mathijs, Ernest (forthcomin) 'It may not be such a bad disease after all': AIDS References in the Critical Reception of Cronenberg
Cinema Journal
Kael, Pauline (1960) 'Fantasies of the Art-House Audience' in Sight and Sound
Notes
This module is at CQFW Level 6