|Module Title||READING FILM: BRITISH CINEMA AFTER 1940|
|Co-ordinator||Dr David Shuttleton|
|Course delivery||Seminar||20 Hours (10 x 2 hr seminar workshops)|
|Practical||30 Hours (10 x 3 hr viewing sessions)|
|Assessment||Continuous assessment||2 essays (2,500 words each)||100%|
|Resit assessment||Resubmit any failed elements and/or make good any missing elements.|
Duration and Teaching
To be taught over one semester in 10 two hour sessions combining lectures and seminars: in addition a regular weekly venue/time will be designated for students to view set films on video. NOTE: as this will be on WEDNESDAY AFTERNOONS, please bear this in mind if you have other commitments. FOR LEGAL REASONS THE TUTOR CANNOT 'LOAN OUT' VIDEOS TO INDIVIDUAL STUDENTS, but the films are usually available from local commercial rental outlets.
You might consult Graeme Turner, Film as Social Practice (Manchester University Press); Timothy Corrigan, A Short Guide to Writing About Film (Harper Collins) or Mast, Cohen and Braudy (eds), Film Theory and Criticism (4th edition, OUP) Secondary reading lists on specific topics will be made available throughout the module.
2. 'How We Fight': In Which We Serve (1942) (Noel Coward)
3. 'Why We Fight': either Went the Day Well or (1942) (Cavalcanti) or A Canterbury Tale (1944) (Powell and Pressburger)
4. Neo-Romanticism: either A Matter of Life and Death (1946) or The Red Shoes (1948) (Powell and Pressburger).
5. The Post-War 'Spiv' Cycle: either The Third Man (1949) (Carol Reed) or Brighton Rock (1947) (Boulting Brothers)
6. Women and Film I: Rebecca (1940) (Hitchcock)
7. Women and Film II: Brief Encounter (1945) (David Lean)
8. The Cinematic Gaze: Peeping Tom (1960) (Michael Powell)
9. The New Wave: Saturday Night and Sunday Morning (1960) (Karel Reisz)
10. Social Problem Films: A Taste of Honey (1962) (Tony Richardson) and/or Victim (1962) (Dearden)