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2012/13 Undergraduate Module Catalogue
CULT2003 Cinema and Culture
20 creditsClass Size: 25
Module manager: Brenda Hollweg
Email: b.hollweg@leeds.ac.uk
Taught: Semester 1 (Sep to Jan) View Timetable
Year running 2012/13
Pre-requisite qualifications
At least 20 credits from ARTF1014, ARTF1015, ARTF1042, ARTF1043, ARTF1045, ARTF1046, CULT1000, CULT1001, CULT1002, CULT1003, ARTF2000 or both of the modules MODL1030 and MODL 1040This module is approved as an Elective
Module summary
PRE-REQUISITES: At least 20 credits from ARTF1014, ARTF1015, ARTF1042, ARTF1043, ARTF1045, ARTF1046, CULT1000, CULT1001, CULT1002, CULT1003, ARTF2000 or both of the modules MODL1030 and MODL 1040This module provides an introduction to post-1968 film theory and examines the complex relationship between cinema and culture. It will discuss the key theoretical concepts integral to questions surrounding the social functioning of cinema, including semiotics, psychoanalysis, authorship, narrative, avant garde film, women's cinema and counter cinema. Lectures will concentrate on critical theory and film analyses, making detailed readings and setting out the main discourses surrounding the previous week's screenings. Seminars will be orientated toward discussion of the week's readings, visual analysis, and the research skills, terminologies and practices that are specific to reading cinematic texts. Theorists addressed will include: Stephen Heath, Paul Willemen, Christian Metz, Raymond Bellour, E. Ann Kaplan, Peter Wollen, Laura Mulvey, Mary Ann Doane and Patricia Mellencamp. The films screened and discussed provide a representative selection relevant to the focus of the theoretical concepts addressed; films may include: Das Cabinet Des Dr Caligari, M, Camille, The Big Sleep, The Searchers, The Birds, Jaws, The Piano, The Truman Show.Assessment: 1 x 2 hour exam (50%) and 1 x 2,000 - 3,000 word essay (50%).Objectives
On completion of this module students should be able to:- apply a range of film theories to the reading of cinematic texts;
- discuss the history of film theory and be conversant with some of its major strands, such as star studies, structuralism, phenomenology, Deleuzian critique, Screen writers and so on;
- relate cinema to questions of race, class, gender, sexuality, form, spectatorship, authorship, semiotics, psychoanalysis, narrative and materiality;
- relate film theory to cultural analysis and to relate cinema to culture as a whole;
- discuss the nature of cinema as a particular cultural form and its impact on the culture of Modernity and Postmodernity.
Skills outcomes
- Verbal and written fluency in constructing a logical and coherent argument;
- Use of audio visual aids;
- Participation in group discussions;
- Co-ordination and dissemination of a range of historical, contextual visual information;
- Using bibliographies and databases.
Syllabus
This module provides an introduction to post-1968 film theory developing out of the debate surrounding the journals Cahiers du Cinema and Screen and examines the complex relationship between cinema and culture. It will discuss the key theoretical concepts integral to the questions surrounding the social functioning of cinema, including semiotics, psychoanalysis, feminism, authorship, narrative, avantgarde film, women's cinema and counter cinema and the materiality of film.
Lectures will concentrate on critical theory and film analysis setting out main discourses and making detailed analyses of the previous week's screenings through discussion of the week's readings. This module concentrates on the visual analysis, research skills, terminologies and practices of reading cinematic texts.
Theorists addressed will include Jean-Louis Comolli and Jean Narboni, Stephen Heath, Paul Willemen, Christian Metz, Raymond Bellour, E. Ann Kaplan, Peter Wollen, Luce Irigaray, Gilles Deleuze, Laura Mulvey and Patricia Mellencamp.
The films screened and discussed are a representative selection within the context of each concept and may include: Das Kabinett des Doktor Caligari, Meshes of the Afternoon, M, Camille, The Big Sleep, The Searchers, Peeping Tom, The Birds, Jaws, The Piano, Le Mepris.
Teaching methods
| Delivery type | Number | Length hours | Student hours |
| Film Screenings | 9 | 3.00 | 27.00 |
| Seminar | 10 | 2.00 | 20.00 |
| Tutorial | 2 | 2.00 | 4.00 |
| Private study hours | 149.00 | ||
| Total Contact hours | 51.00 | ||
| Total hours (100hr per 10 credits) | 200.00 | ||
Private study
149 hours - further reading, class/essay preparation and preparation for group presentations. Also possible longer screenings.Opportunities for Formative Feedback
- Attendance at seminars/film screenings- Record of attendance kept
- Participation in class discussions and in the group presentations given in weeks 10 and 11.
Methods of assessment
Coursework
| Assessment type | Notes | % of formal assessment |
| Essay | 1 x 2,000-3,000 word essay | 50.00 |
| Total percentage (Assessment Coursework) | 50.00 | |
Normally resits will be assessed by the same methodology as the first attempt, unless otherwise stated
Exams
| Exam type | Exam duration | % of formal assessment |
| Standard exam (closed essays, MCQs etc) | 2 hr 00 mins | 50.00 |
| Total percentage (Assessment Exams) | 50.00 | |
Normally resits will be assessed by the same methodology as the first attempt, unless otherwise stated
Reading list
The reading list is available from the Library websiteLast updated: 24/07/2013
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