Matching your professional interests with an academic topic and approach.
Outlining a selection of the most essential academic methods and theoretical frameworks in Film and TV Studies.
Giving an idea of the shape the Dissertation itself will take, and what the Proposal needs to do to prepare you in choosing a question and structuring an academic argument.
Today’s Seminar:
In groups discuss each of you potential choice for an academic topic, and the primary (film, TV) and secondary sources (authors) you wish to work with.
During the seminar I will go around and speak to your groups and/or individually to assess:
– what questions you are interested in addressing?
– How you would go about selecting authors and case studies for the chapters?
Deadlines Ahead
Draft Submission date:
Friday 23rd March 2018
Final Submission date:
Friday 11th May 2018
We will develop your topic chosen across the term by helping you:
• To explore your useful question, hypothesis and the ‘intellectual conflict’ you wish to focus on
• On how to argue a case and support it with key evidence
• Inves2gate and critically unpack the information you collect
You already have good experience with Film/TV/Media Studies courses on theory and/or art backgrounds so the proposals can build on a solid foundation of academic substance in more depth, which is excellent!
You’re driven to be creative filmmakers, producers, writers = a temptation to see theory or academic study as merely a threat to your hands-on practice but theory, analysis, critical thinking, writng arguments is not simply baggage or a burden, but all help to enhance your creativity: for producing storytelling, pleasurable or controversial artworks, kinds of cultural expression, etc.
Some of you will feel more confident than others – this is normal!
But we really need to get you thinking on the Dissertation Proposal now: from the planning to researching and what you need to be doing across them term!![]()
Matching Interests with Academia
Outlining a selection of the most essential academic methods and theoretical frameworks in Film and TV Studies.
Giving an idea of the shape the Dissertation itself will take, and what the Proposal needs to do to prepare you in choosing a question and structuring an academic argument.
Today’s Seminar:
In groups discuss each of you potential choice for an academic topic, and the primary (film, TV) and secondary sources (authors) you wish to work with.
During the seminar I will go around and speak to your groups and/or individually to assess:
– what questions you are interested in addressing?
– How you would go about selecting authors and case studies for the chapters?
Deadlines Ahead
Draft Submission date:
Friday 23rd March 2018
Final Submission date:
Friday 11th May 2018
We will develop your topic chosen across the term by helping you:
• To explore your useful question, hypothesis and the ‘intellectual conflict’ you wish to focus on
• On how to argue a case and support it with key evidence
• Inves2gate and critically unpack the information you collect
You already have good experience with Film/TV/Media Studies courses on theory and/or art backgrounds so the proposals can build on a solid foundation of academic substance in more depth, which is excellent!
You’re driven to be creative filmmakers, producers, writers = a temptation to see theory or academic study as merely a threat to your hands-on practice but theory, analysis, critical thinking, writng arguments is not simply baggage or a burden, but all help to enhance your creativity: for producing storytelling, pleasurable or controversial artworks, kinds of cultural expression, etc.
Some of you will feel more confident than others – this is normal!
But we really need to get you thinking on the Dissertation Proposal now: from the planning to researching and what you need to be doing across them term!
Matching Interests with Academia
Already familiar – in Television Studies:
journalism, literary/dramatic criticism and the social sciences.
• This is not meant to be a prescriptive list, but can be mixed and matched depending on your question and case studies, and also there is more not necessarily covered here that may be indirectly linked....
Matching Interests with Academia
• Writing
• Production
• Editing
• Set Design
• Costume
• Directing
• Acting
• Cinematography
• Documentary
• Visual effects
• Animation
• Criticism
• Sound
• Lighting
Formalism – the elements that make up and structure the films ‘form’
Style:
• Mise-en-scene (performance, colour, lighting, set design and props, costumes/make-up)
Editing:
• Continuity Editing (Axis of Action, shot-reverse-shot, Classical Hollywood – Alfred Hitchcock)
• Discontinuity Editing (Soviet Montage – Sergei Eisenstein)
• Art House Cinema (Jean Luc Goddard)
• Avant-Garde/Experimental (Stan Brakhage)
Cinematography
• Framing
• Composition
• Frame Rate
• Narration (and Narratology - Bordwell, David (1985): Narration in the Fiction Film):
• Story and Plot
• Characterisation
Sound - Michel Chion
• This is not meant to be a prescriptive list, but can be mixed and matched depending on your question and case studies, and also there is more not necessarily covered here that may be indirectly linked....
Matching Interests with Academia
• Writing
• Production
• Editing
• Set Design
• Costume
• Directing
• Acting
• Cinematography
• Documentary
• Visual effects
• Animation
• Criticism
• Sound
• Lighting
Formalism – the elements that make up and structure the films ‘form’
Style:
• Mise-en-scene (performance, colour, lighting, set design and props, costumes/make-up)
Editing:
• Continuity Editing (Axis of Action, shot-reverse-shot, Classical Hollywood – Alfred Hitchcock)
• Discontinuity Editing (Soviet Montage – Sergei Eisenstein)
• Art House Cinema (Jean Luc Goddard)
• Avant-Garde/Experimental (Stan Brakhage)
Cinematography
• Framing
• Composition
• Frame Rate
• Narration (and Narratology - Bordwell, David (1985): Narration in the Fiction Film):
• Story and Plot
• Characterisation
Sound - Michel Chion
Bordwell, David. Film Art: An Introduction
Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp. 37-47
Realism and Social Realism
• Documentary Modes (Poetic, Expository, Observational, Participatory, Reflexive, Performative).
• Poetic realism (e.g. deep-focus photography long takes in Citizen Kane)
• Neo-Realism (e.g. non-professional actors, documentary affects, handheld cameras, no editing, natural sets in Bicycle Thieves)
• British Realist (e.g. New Wave 1959-63)
• Social Realism (e.g. social problem films Ken Loach, Mike Leigh)
• Sociology of Urban Spaces, Class Systems, etc.
André Bazin, ‘Introduction’ and ‘The Ontology of the Photographic Image’ and ‘The Myth of Total Cinema’, in What is Cinema? Volume One (San Francisco, CA: University of California Press, 1967), pp.1-17.
Julia Hallam and Margaret Marshment, ‘Space, place and identity: re- viewing social realism’, in Realism and Popular Cinema (Manchester: Manchester University Press, 2000), pp.185- 219.
Auteurship
• Francois Truffaut (Auteur policy, 400 Blows)
• Andrew Sarris (Auteur Theory, three concentric circles of: technique, personal style and interior meaning versus meqeur-en-scene)
• Roland Barthes (Death of the Auteur - viewer as author)
• Auteur structuralism (Wollen – author as unconsciously channelling social conventions
• Post-Auteur – as a head of collaboration with actors, producers, screenwriter, branding, etc.)
Andrew Sarris. ‘Notes on the Auteur Theory in 1962’ in Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 561-4
Christen Ethrington-Wright and Ruth Doughty, ‘Auteur Theory’ in Understanding Film Theory (London: Palgrave MacMillan, 2011), pp. 3-20
Robert Stam, Film Theory: An Introduction (Malden: Blackwell, 2000), pp. 37-47
Realism and Social Realism
• Documentary Modes (Poetic, Expository, Observational, Participatory, Reflexive, Performative).
• Poetic realism (e.g. deep-focus photography long takes in Citizen Kane)
• Neo-Realism (e.g. non-professional actors, documentary affects, handheld cameras, no editing, natural sets in Bicycle Thieves)
• British Realist (e.g. New Wave 1959-63)
• Social Realism (e.g. social problem films Ken Loach, Mike Leigh)
• Sociology of Urban Spaces, Class Systems, etc.
André Bazin, ‘Introduction’ and ‘The Ontology of the Photographic Image’ and ‘The Myth of Total Cinema’, in What is Cinema? Volume One (San Francisco, CA: University of California Press, 1967), pp.1-17.
Julia Hallam and Margaret Marshment, ‘Space, place and identity: re- viewing social realism’, in Realism and Popular Cinema (Manchester: Manchester University Press, 2000), pp.185- 219.
Auteurship
• Francois Truffaut (Auteur policy, 400 Blows)
• Andrew Sarris (Auteur Theory, three concentric circles of: technique, personal style and interior meaning versus meqeur-en-scene)
• Roland Barthes (Death of the Auteur - viewer as author)
• Auteur structuralism (Wollen – author as unconsciously channelling social conventions
• Post-Auteur – as a head of collaboration with actors, producers, screenwriter, branding, etc.)
Andrew Sarris. ‘Notes on the Auteur Theory in 1962’ in Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 561-4
Christen Ethrington-Wright and Ruth Doughty, ‘Auteur Theory’ in Understanding Film Theory (London: Palgrave MacMillan, 2011), pp. 3-20
Genre Theory
• Formal elements:
• Formal elements:
• Iconography (costume, staging and starts)
• Tone (lighting, music, cinematography)
• Narrative elements
• Plot
• Themes
• Archetypes
• Rick Altman: Semantics (vocabulary or ‘ingredients’ and Syntax (Structure or grammar)
• Thomas Schatz: Social Order (Westerns, Ac2on) versus Social Integration (Musicals Romance)
• Steve Neal: Difference and Repe22on of Formulas, Familiarly and Innovation
• Categories (e.g. Hollywood: Westerns, Musicals, Gangster, Swashbucklers, Melodrama, Ac2on-Adventure)
• Subgenres and Hybridity
• Canon formation, Revisionism and Cycles
• Allegory and Metaphor
• Industry and Audience
Andrew Tudor, ‘Cri2cal Method: Genre’ in Joanne Hollows, Peter Hutchings and Mark Jancovich (eds.), The Film Studies Reader (London: Arnold, 2000), pp.95-98.
Steve Neal, Hollywood Genres
National Cinemas, Art Movements, Transnational Cinema
• British NewWave(1959-63–BillyLiar)
• French Impressionismand Surrealism(1918-1930–Un Chien Andalou)
• SovietMontage(1924-30–Battleship Potemkin)
• Italian Neorealism(1942-1951–BicycleThieves)
• GermanExpressionism(1919-1926–The Cabinet of Dr Cagliari)
• French New Wave 1959-1964-The 400 Blows)
• New German Cinema (1962-82-The Marriage of Maria Braun)
• New Mexican Cinema(1990s- present- AmoresPerros)
• New Hollywood and Independent American Cinema (1970s-1980s, Taxi Driver, ‘Indie Pictures’, Move Brats)
• HongKongCinema(1980s-1990s)
• IranianNewWave...
Transnational Cinema: where does the money hail from? The director? The Story?...
Andrew Higson, ‘The Concept of National Cinema’, Screen (1989) 30 (4), pp. 36-47
Stephen Cross, ‘Re-conceptualizing National Cinema/s’, Quarterly Review of Film and Video (1993) 14 (3), pp.49-67
Spectatorship
• Psychoanalysis
– Male Gaze in Vertigo (Alfred Hitchcock, 1958) - Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen (1975), pp. 6-18 (reprinted in
– Phallic symbolism in Slasher films (Carol Clover...
Barbara Creed, ‘Film and Psychoanalysis,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 77–91
Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 833-45)
• Cognitivism
– Recognition, Alignment and Allegiance of Characterisation in Mulholland Drive (David Lynch, 2001) – Murray Smith, Engaging Characters
Richard Rushton and Gary Bernson, ‘The cognitive turn: Narrative comprehension and character identification’ in What is Film Theory? (Maidenhead: Open UP/McGraw Hill: 2010) , pp. 156-176.
David Bordwell, ‘A Case for Cognitivism’, Iris, (1989). 9, pp. 11-40.
Feminism
• Male Gaze in Vertigo...
• Posteminist and Consumer ‘Choice’ of branding, beautification and neoliberal exploration in New Femininities: Post-feminism, Neoliberalism and Subjectivity.
• Androcentrism–Simonde Behaviour, Mary Ann Doane, Film and the masquerade
Patricia White, ‘Feminism and Film,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 117–35
Representation
• Class
• Sexuality
• Gender
• Masculinity
Post colonialism, Multiculturalism, Race and Ethnicity
• Orientalism – Edward Said
• Third Cinema versus Eurocentrism • Racial Gaze
• Posi2ve and Nega2ve Stereotypes
Robert Stam, Film Theory: An Introduc+on (Malden: Blackwell, 2000), pp. 267–80
Digital Cinema
• Manipulation of Spaces and Early Effects – Melies/Lumiere Bros.
• Perceptual Realism and Photorealism
• Persuasion Tactics and Para-texts
• Remediation
• Mo2on Capture and Performance
• Humanness and technology
• Codes and Contestable mapping
• Trans-mediality
• Participatory Culture and Ci2zen Journalism
• Convergence and Spreadable Media
Lev Manovich, ‘What is Digital Cinema?’, in The Visual Culture Reader, 2nd edn. (London; New York: Routledge, 1998), pp. 405–16
Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction Through the Senses (Abingdon and New York: Routledge, 2010), pp. 170-187
As your tutor I will supervise your dissertation, helping to:
• Guide your studies
• Advise on the intellectual context of your approach
• Clarify and organise your ideas
• Plan and structure your work
• Tone (lighting, music, cinematography)
• Narrative elements
• Plot
• Themes
• Archetypes
• Rick Altman: Semantics (vocabulary or ‘ingredients’ and Syntax (Structure or grammar)
• Thomas Schatz: Social Order (Westerns, Ac2on) versus Social Integration (Musicals Romance)
• Steve Neal: Difference and Repe22on of Formulas, Familiarly and Innovation
• Categories (e.g. Hollywood: Westerns, Musicals, Gangster, Swashbucklers, Melodrama, Ac2on-Adventure)
• Subgenres and Hybridity
• Canon formation, Revisionism and Cycles
• Allegory and Metaphor
• Industry and Audience
Andrew Tudor, ‘Cri2cal Method: Genre’ in Joanne Hollows, Peter Hutchings and Mark Jancovich (eds.), The Film Studies Reader (London: Arnold, 2000), pp.95-98.
Steve Neal, Hollywood Genres
National Cinemas, Art Movements, Transnational Cinema
• British NewWave(1959-63–BillyLiar)
• French Impressionismand Surrealism(1918-1930–Un Chien Andalou)
• SovietMontage(1924-30–Battleship Potemkin)
• Italian Neorealism(1942-1951–BicycleThieves)
• GermanExpressionism(1919-1926–The Cabinet of Dr Cagliari)
• French New Wave 1959-1964-The 400 Blows)
• New German Cinema (1962-82-The Marriage of Maria Braun)
• New Mexican Cinema(1990s- present- AmoresPerros)
• New Hollywood and Independent American Cinema (1970s-1980s, Taxi Driver, ‘Indie Pictures’, Move Brats)
• HongKongCinema(1980s-1990s)
• IranianNewWave...
Transnational Cinema: where does the money hail from? The director? The Story?...
Andrew Higson, ‘The Concept of National Cinema’, Screen (1989) 30 (4), pp. 36-47
Stephen Cross, ‘Re-conceptualizing National Cinema/s’, Quarterly Review of Film and Video (1993) 14 (3), pp.49-67
Spectatorship
• Psychoanalysis
– Male Gaze in Vertigo (Alfred Hitchcock, 1958) - Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen (1975), pp. 6-18 (reprinted in
– Phallic symbolism in Slasher films (Carol Clover...
Barbara Creed, ‘Film and Psychoanalysis,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 77–91
Leo Baudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 5th ed. 1999), pp. 833-45)
• Cognitivism
– Recognition, Alignment and Allegiance of Characterisation in Mulholland Drive (David Lynch, 2001) – Murray Smith, Engaging Characters
Richard Rushton and Gary Bernson, ‘The cognitive turn: Narrative comprehension and character identification’ in What is Film Theory? (Maidenhead: Open UP/McGraw Hill: 2010) , pp. 156-176.
David Bordwell, ‘A Case for Cognitivism’, Iris, (1989). 9, pp. 11-40.
Feminism
• Male Gaze in Vertigo...
• Posteminist and Consumer ‘Choice’ of branding, beautification and neoliberal exploration in New Femininities: Post-feminism, Neoliberalism and Subjectivity.
• Androcentrism–Simonde Behaviour, Mary Ann Doane, Film and the masquerade
Patricia White, ‘Feminism and Film,’ in John Hill and Pamela Church Gibson, eds. The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 117–35
Representation
• Class
• Sexuality
• Gender
• Masculinity
Post colonialism, Multiculturalism, Race and Ethnicity
• Orientalism – Edward Said
• Third Cinema versus Eurocentrism • Racial Gaze
• Posi2ve and Nega2ve Stereotypes
Robert Stam, Film Theory: An Introduc+on (Malden: Blackwell, 2000), pp. 267–80
Digital Cinema
• Manipulation of Spaces and Early Effects – Melies/Lumiere Bros.
• Perceptual Realism and Photorealism
• Persuasion Tactics and Para-texts
• Remediation
• Mo2on Capture and Performance
• Humanness and technology
• Codes and Contestable mapping
• Trans-mediality
• Participatory Culture and Ci2zen Journalism
• Convergence and Spreadable Media
Lev Manovich, ‘What is Digital Cinema?’, in The Visual Culture Reader, 2nd edn. (London; New York: Routledge, 1998), pp. 405–16
Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction Through the Senses (Abingdon and New York: Routledge, 2010), pp. 170-187
As your tutor I will supervise your dissertation, helping to:
• Guide your studies
• Advise on the intellectual context of your approach
• Clarify and organise your ideas
• Plan and structure your work
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