· web viewthe course will present a range of films across the history of the sound period....

MA IN FILM STUDIES COURSE REQUIREMENTS:

Ma in Film and Screen Media

Student Handbook

2019–2020

TABLE OF CONTENTS

GENERAL INFORMATION3

WELCOME4

PEOPLE5

OUR RESOURCES8

Location Filming – Health and Safety9

APPLE CERTIFIED TRAINING COURSE…………………………….…………………………………10

COURSE REQUIREMENTS11

TIMETABLE12

SEMESTER DATES12

ATTENDANCE AND PARTICIPATION/prelim. reading13

FILM AND SCREEN MEDIA PROCEDURES13

FX6017 FILM AND SCREEN CULTURES AND INDUSTRIES17

FX6018 RESEARCH METHODOLOGIES SEMINAR……………………………………………………23

FX6016 DISSERTATION IN FILM AND SCREEN MEDIA STUDIES………………………………...25

FX6019 CREATIVE PRACTICE PROJECT…………………………………………………………..........26

DISSERTATION/PROJECT GUIDELINES27

FX6004 FILM, FEMINISM AND PSYCHOANALYSIS28

FX6010 IRISH CINEMA: HISTORY, CONTEXTS, AESTHETICS30

FX6014 INTRODUCTION TO CREATIVE PRACTICE34

CS6104 Digital Video Capture and Packaging35

CS6504 Digital Video Project36

GE6020 QUESTIONS OF ADAPTATION AND ADOPTION: RE-WRITINGS / RE-VIEWINGS / RE-READINGS37

MU6037 Music and Cinema40

BOOLE LIBRARY RESOURCES45

USEFUL WEBSITES45

GENERAL INFORMATION

Programme email address for general queries: [email protected]

Film and Screen Media website: www.ucc.ie/en/filmstudies

Twitter: @uccfilmstudies

Website Student Area: http://www.ucc.ie/en/filmstudies/students

MA PROGRAMME COORDINATOR

Dr Gwenda Young

Film and Screen Media

Office Location: O’Rahilly Building 1.83

Consultation times: By appointment (please email)

Tel: +353-21-490 2776

Email: [email protected]

HEAD OF DEPARTMENT

Dr Ciara Chambers

Film and Screen Media

Office location:

Consultation times: By appointment (please email)

Tel: +353- 21-4901915


COURSE ADMINSTRATOR

Ms Linda Murphy

Office Location: O’Rahilly Building 1.80

University College Cork

Tel: +353 (21) 490 3863


Please note: the departmental office is open Monday-Thursday only

WELCOME

The MA in Film and Screen Media is a one-year taught course that offers advanced-level critical skills in the disciplines of Film and Screen Media, training in digital filmmaking, and transferrable IT/web skills. The MA combines theory and practice, with an emphasis on encouraging students’ academic skills and creativity (in filmmaking; film/media journalism; cultural administration). Students will avail of specialised tuition and supervision, and avail of masterclasses by Industry professionals/practitioners. Involvement in the Fastnet Schull Film Festival is also an option. The unique “stream” approach and range of learning methods of the MA means that students have greater flexibility in shaping the kind of programme they want, and can pursue their interests in theoretical and cultural studies, creative practice, critical writing, or the culture industry. The MA’s distinctive blend of theory, creative practice, and industry links is unique in Ireland.

The MA in Film and Screen Media is a 90-credit programme with both a taught and a research component. Students take core modules and a selection of option modules, and can choose to complete a traditional research dissertation or a practice-based project under expert supervision.

Students can avail of a selection of optional modules in film studies, in filmmaking, in cultural/film studies, as well as a core module that offers advanced-level studies in film and screen media.

Topics covered in the programme may include: amateur filmmaking: theory and practice; the essay film; archives and curatorship; film and culture; music and cinema; writing on cinema; mobile filmmaking; new media & new technologies: theory and practice; feminism/gender studies and film; national cinemas; independent cinema.

We look forward to welcoming you to the programme & the Department, and look forward to working with you during the year.

Ciara Chambers (Head of Department)/ Barry Monahan (Acting Head, TP2)

Gwenda Young (MA coordinator)

PEOPLE

Richard Bradfield is Liaison Librarian in Boole Library. Email: [email protected]

Ciara Chambers (Head of Department) is Lecturer in Contemporary Film and Media. Her research interests include newsreels, amateur film and the recycling of archival images. She has worked on a range of archival projects and digitisation initiatives with the Irish Film Archive, Northern Ireland Screen, Belfast Exposed Photography, UTV, BBC, and the British Universities Film and Video Council. She was scriptwriter and associate producer on Ireland in the Newsreels, a six part television series broadcast on TG4 in 2017. She is the author of Ireland in the Newsreels, published by Irish Academic Press in 2012. Her co-edited collection, Researching Newsreels: Local, National and Transnational Case Studies, has recently been published by Palgrave. Email: [email protected]

Alan Gilsenan is the Arts Council/UCC Film Artist in Residence. He is an award-winning film-maker, writer and theatre director. His widely diverse body of film work extends across documentary, feature films and experimental work. Recent films include the feature film Unless, with Catherine Keener, based upon the final novel of Carol Shields; the hugely successful cinema documentary, Meetings With Ivor; an experimental film A Vision: A Life of WB Yeats; the drama-documentary Eliza Lynch: Queen of Paraguay; and The Meeting. His theatre work includes his adaptation of John Banville’s The Book of Evidence at the Kilkenny Festival and Dublin’s Gate Theatre; Samuel Beckett’s Footfalls at the Gate Theatre and London’s Barbican Centre; Knives In Hens by David Harrower at Dublin’s Smock Alley Theatre and a dance theatre piece The Burning House at the Dublin Dance Festival 2012. He has also served on the Irish Film Board (2000 – 2008); as Chairman of the Irish Film Institute (2002 - 2007); as Chairman of Film-Makers Ireland - now Screen Producers Ireland – (1995 - 1998); and as a member of the Board of the International Dance Festival Ireland (2001 – 2007). From 2009 - 2014, he served on the Board of Ireland’s state broadcaster RTÉ. He is currently on the Board of Fighting Words, a creative writing centre for young people.

Loretta Goff is a postdoctoral researcher in Film and Screen Media at University College Cork. Her research interests principally focus on film and identity, genre, stardom and contemporary representations of Irish America. She completed her PhD in 2019. Email: [email protected]

Abigail Keating is Lecturer in Film and Screen Media. She has published widely on her main research areas of women and media; identity, gender and place in contemporary cinema; interactivity and identity in digital screen media; and the contemporary documentary. She is currently working on a book on the topic of identity and autonomy in the digital age. She has also worked in collaboration with the Irish Film Institute a number of times, through projects and lecture series. Email: [email protected]

Cathal Kerrigan is Liaison Librarian for CACSSS & ACE. He holds a general B.A. degree from UCC (1980) and DipLIS from UCD (1983). He took up a role as Assistant Librarian with UCC Library in 2003 and was appointed CACSSS liaison librarian in 2019. Email: [email protected]

Danijela Kulezic-Wilson is Lecturer in Music in the School of Music and Theatre at University College Cork. Her research interests include approaches to film that emphasise its inherent musical properties, the integrated soundtrack, the musicality of sound design and musical aspects of Beckett’s plays. She is the author of The Musicality of Narrative Film (Palgrave Macmillan, 2015) and co-editor (with Liz Greene) of The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (Palgrave Macmillan, 2016). Email: [email protected]

Rachel MagShamhráin is a Lecturer in the Department of German. Her research interests include European cultural history, German film and literature, Adaptation Studies, and translation. Email: [email protected]

Barry Monahan is Lecturer in Film Studies. His main teaching and research interests are: the history and aesthetics of Irish and other national cinemas and film theory. He is the author of two monographs, an edited collection and a co-edited collection. His study of Lenny Abrahamson’s films, The Films of Lenny Abrahamson: A Filmmaking of Philosophy was published by Bloomsbury Academic in 2018. Email: [email protected]

James Mulvey is a PhD candidate in Film and Screen Media at University College Cork. He received an MA from University College Dublin in Philosophy and Literature, and a second MA in Film Studies at University College Cork. His research interests include the essay film, film-philosophy, contemporary world cinema and documentary. He is the features and documentary programmer for IndieCork Film Festival. Email: [email protected]

Mary Noonan is Lecturer in French at UCC, where she teaches modern and contemporary French theatre, contemporary French cinema and French poetry. Within the School of Languages, she coordinates and teaches on the MA in Languages and Cultures. Her research focuses in particular on the work of French women playwrights and film-makers, on voice and the auditory in theatre and the representation of corporeal presence in theatre and on film. She draws on a range of theoretical approaches in her work, including psychoanalytical theory, phenomenology and feminist theory. She has published widely in the area of contemporary French theatre. Her research monograph, Echo's Voice: The Theatres of Sarraute, Duras, Cixous and Renaude was published in 2014 by Legenda (Oxford). Email: [email protected]

Dan O’Connell is Practitioner in Residence in Film and Screen Media at University College Cork. He is a director and co-owner of Superego.ie, a video and film production company with a special focus on marketing, fashion and event videography and founder of egomotion.net, an online filmmaking community based in Cork. His films have won and been screened in various film festivals worldwide. He completed an MRes in Film and Screen Media at UCC in 2017, and a Creative Ireland/Cork County Council-funded documentary, Movie Memories in 2018, and is currently working on a PhD in Creative Practice, and on developing the multimedia archive, corkmoviememories.com. Email: [email protected]

Ian Pitt is a Lecturer in the Department of Computer Science. His teaching and research interests include interactive media and the use of speech, sound and touch in computer interfaces, particularly in the design of systems for use by blind and visually impaired people. Email: [email protected]

Laura Rascaroli is Professor in Film and Screen Media. Her interests span art film, modernism and postmodernism, geopolitics, space (the city, the road), nonfiction, the essay film, and first-person cinema, often in relation to issues of social, political, intellectual and artistic European history. She is the author and editor of several volumes, including How the Essay Film Thinks (2017), The Personal Camera: Subjective Cinema and the Essay Film (2009), Crossing New Europe: Postmodern Travel and the European Road Movie (2006), co-written with Ewa Mazierska, and Antonioni: Centenary Essays (2011), co-edited with John David Rhodes. Email: [email protected]

Barry Reilly is Multimedia and IT Technical Officer for the Discipline of Film and Screen Media. A graduate in Film and Video Technology from Southampton Solent University, he went on to work for Setanta Transmissions Limited as a Broadcast Technician. His role there included technical supervision of the company’s live studio events as well as broadcast engineer on global news channel guest interviews. Barry is an Apple-certified instructor. Email: [email protected]

Gwenda Young (MA coordinator) is Lecturer in Film Studies. Her research interests include Silent Cinema, 1914-1927; Film History; Auteur studies; Animals in Film and Media; Classical Hollywood studio system; Gender in Cinema; Post-Classical Hollywood Cinema; and Genre Studies. She has co-edited two collections of essays; two journal issues; published a range of articles in journals and collections, and published a full-length critical study of American director Clarence Brown, Clarence Brown: Hollywood’s Forgotten Master (UP Kentucky) in 2018. She collaborated with Dan O’Connell on the documentary, Movie Memories (2018) and is currently working with him on developing a multimedia archive on film memories (see corkmoviememories.com). Email: [email protected]

OUR RESOURCES

Film and Screen Media Auditorium, Kane Building, B10 (Basement): our main lecture room, and screening/masterclass facility, and two editing labs equipped with 18 and 15 iMacs respectively.

TECHNICAL

Specialised filmmaking equipment (digital cameras, sound recording gear, lighting kits etc.) and editing facilities will be provided for students. The editing lab consists of 15 iMacs, with Final Cut Pro X; Adobe CS6 Production Premium; Logic Pro X and one Digital Audio Workstation.

We will keep you informed on when you can access the lab and the equipment. Please note that all equipment remains the property of the Department and is lent out at its discretion. As the University’s insurance policy does not cover damage or loss of equipment outside Ireland, it is not permissible to borrow any Department equipment for use outside Ireland.

Students are advised to purchase their own USB external for hard drives for transporting media projects and for backing-up course assignments.

Here are some suggestions:

· Seagate Backup Plus Slim 1TB USB 3.0 Portable Hard Drive – komplett.ie

· Verbatim Store ‘n’ Go 1TB USB 3.0 Portable Hard Drive – komplett.ie

· Toshiba Canvio Basics 1TB USB 3.0 Portable Hard Drive – elara.ie

ONLINE Assessment and examination guidelines, student booklets and information, extension forms and other resources are accessible to students from the Student Area of the Film and Screen Media website:

https://www.ucc.ie/en/filmstudies/students

Username: student

Password: student

All iMac computers in the Film and Screen Media labs are equipped with StreamToMe

This application can be used for viewing a vast archive of films including those prescribed on the course, past masterclasses and equipment tutorials.

Students requiring further instruction or assistance with film/IT equipment can contact Film and Screen Media’s Technical Officer Mr. Barry Reilly: [email protected]

Location Filming – Health and SafetyINDUCTION TRAINING

As a pre-requisite to approving any self-managed location filming work, all practice students must attend the location safety instruction class.

It is your responsibility to consider all of the safety implications of your planned filming work in order to help you reduce or eliminate any health and safety risks involved.

This is to protect your own safety, and that of your crew, cast members, contributors and others who may be affected by the filming, including members of the public.

RISK ASSESSMENT

Risk assessment is essential to effective health and safety management. For our purposes, this is a two-tier process, comprising the following stages:

Filming in a classroom environment – Film and Screen Media General Risk Assessment - using filming equipment, but only on the basis of simple action in a stable environment

1 General Risk Assessment (GRA) - This applies to the use of the Discipline’s location filming equipment when used in relatively stable operating environments, such as the Film and Screen Media premises, and filming simple actions, such as standing, sitting, reading, walking across the room, still life objects, etc.

Filming on Campus, public places or private property – Film and Screen Media Risk Assessment Form - additional level of safety risk assessment completed by you.

2 The Film and Screen Media – Risk Assessment Form (RAF) - Owing to the extremely variable nature of film locations and filming action, whether or not you are working with real or imaginary situations, it is necessary to conduct a further level of risk assessment, which may be specific to a particular scene and location.

APPLE FINAL CUT PRO X 10.3: PROFESSIONAL POST-PRODUCTION

This course is designed for any MA Film and Screen Media students looking to master the professional editing software Final Cut Pro X and who prefer hands-on and interactive instruction to best explore its functionality, as well as preparing the learner to pass the Final Cut Pro X exam and earn the Apple Certified Pro - Final Cut Pro X certification.

Final Cut Pro X is a revolutionary video editing application that makes it possible for beginners and seasoned professionals to achieve impressive results. Students will start out with basic video editing techniques and work all the way through Final Cut Pro's powerful advanced features. Students will work with dramatic real-world media to learn the practical techniques used daily in editing projects.

Pass the exam and as an Apple Certified Pro you’ll receive a certificate from Apple, recognising you as a skilled user of Final Cut Pro X 10.3 and giving you the right to use the Apple Certified Pro logo on your résumé, business cards and website.

10 x 2hr classes will be scheduled from the start of Semester 2 with an extra two hours for those wishing to sit the optional Final Cut Pro X exam.

Students attending the course will learn the following:

· How to organise media to save time during your edit

· Using the Magnetic Timeline to your advantage for an exceptionally fast, fluid way to edit

· Fine tuning clips in the timeline using multiple trimming techniques

· Ways of working with audio to improve overall sound design

· Applying effects, transitions and retiming clips

· Finishing and sharing your final project

The course is being made available to MA students on a complimentary basis, as part of their postgraduate year (usual fee is €390), but an administration fee of €50 is required to confirm your place on the course. An additional fee of €70 is payable for those taking the (optional) exam at the end.

The course will be delivered by Mr Barry Reilly, Film and Screen Media Technical Officer and Apple Certified Trainer in the Apple Authorised Training Centre – Lab 2, B.10.E Kane Building Basement.

COURSE REQUIREMENTS

Students take 90 credits as follows:

Part I

FX6017 Film and Screen Cultures and Industries (20 credits) FX6018 Research Methodologies Seminar (10 credits)

plus

up to 20 credits from the following:

· FX6004 Film, Feminism and Psychoanalysis (10 credits)

· FX6010 Irish Cinema: History, Contexts, Aesthetics (10 credits)

· FX6014 Introduction to Creative Practice (10 credits) *

· CS6104 Digital Video Capture and Packaging (5 credits)**

· CS6504 Digital Video Project (5 credits)**

· GE6020 Questions of Adaptation and Adoption: Re-Writings/Re-Viewings/Re-Readings (10 credits)

· MU6037 Music and Cinema (10 credits)

Notes: *FX6014 Introduction to Creative Practice is an introductory course in film practice and is therefore not open to students that have already completed the BA in Film and Screen Media at UCC or who are already proficient in digital filmmaking. If you have any queries on this module, please contact Dan O’Connell for more information

**CS6104 and CS6504 must be taken together. Maximum 6 FX students.

Part II

FX6016 Dissertation in Film and Screen Media (40 credits)

OR

FX6019 Creative Practice Project (40 credits)

TIMETABLE

Please note that the timetable will be flexible; on top of the main, core timetabled hours, events and activities will be scheduled throughout the year. Details of venues are listed on the module outlines, below.

Semester 1

Monday

Tuesday

Wednesday

Thursday

Friday

9

FX6010

10

FX6010

11

FX6017

12

FX6017

CS6104 (lab)

13

FX6010

Occasional class/event

14

FX6010


FX6017

15

FX6014

FX6017

16

FX6018

FX6014

17

FX6018

CS6104

18

CS6104

Semester 2

Monday

Tuesday

Wednesday

Thursday

Friday

9

10

FX6018

11

FX6017

FX6018

MU6037 (screening)

FX6004

12

FX6017

MU6037 (screening)

FX6004

13

GE6020

14

FX6017

GE6020

15


FX6017

16

MU6037 (class)

17

MU6037 (class)

18

ATTENDANCE AND PARTICIPATION

Participation in all classes, seminars, workshops, masterclasses and screenings is compulsory; attendance rolls will be taken for all classes. Students are required to read prescribed texts and attend scheduled screenings, and to make informed contributions to seminar discussion.

FILM AND SCREEN MEDIA PROCEDURES

Please note that the Discipline of Film and Screen Media’s procedures in matters including:

· assessment and marking criteria

· examinations

· submission of student work

· style and referencing

· plagiarism policy

· extension policy

· use of Canvas and Turnitin

are detailed in a separate booklet, the MA Assessment Guidelines and Procedures 2019–20.

The MA Assessment Guidelines and Procedures booklet is available as a PDF file from the Student Area of the website: http://www.ucc.ie/en/filmstudies/students (see section of this booklet on Online Resources).

Please note that it is the responsibility of students to familiarise themselves with the Discipline’s regulations and to apply them carefully.

Students are also required to familiarise themselves with the UCC Guide to Examinations for Staff and Students:

http://www.ucc.ie/en/media/academic/filmstudies/Guide-to-Examinations-for-staff-and-students-Jan-2016.pdf

SOME SUGGESTED PRELIMINARY READING

· Bordwell, David. On the History of Film Style. Harvard: Harvard University Press, 1998.

· Braudy, Leo: Film Theory and Criticism: Introductory Readings OUP, 2004

· Hayward, Susan. Cinema Studies: The Key Concepts. London: Routledge, 2000.

Multiple copies of these books are available from the Boole Library.

CORE MODULES

FX6017 FILM AND SCREEN CULTURES AND INDUSTRIES

Credit Weighting: 20

Semester(s): Semesters 1 and 2.No. of Students: Min 6, Max 18.

Pre-requisite(s): None/ Co-requisite(s): None

Teaching Method(s): 48hr(s) Seminars; 24hr(s) Directed Study; 24hr(s) Other (Project work; Optional placements; Screenings).

Module Co-ordinator: Dr Gwenda Young, Department of Film and Screen Media.Lecturer(s): Staff, Department of Film and Screen Media.

Module Content: The course introduces students to aspects of the study of Film and Screen Media cultures and industries, with a particular emphasis on the interface between modes of production and exhibition/dissemination. Some of the topics addressed may include: Conventions & practices (narrative and form; space and frame; alternative and avant-garde practices; genre); Archives and curatorship; new media; CulturalIndustries. Learning Outcomes: On successful completion of this module, students should be able to:

· Evaluate prescribed texts

· Explain the relationship of prescribed films to each other and their cultural, productive, artistic and historical contexts

· Evaluate the changing modes and contexts of film and screen media production, distribution and exhibition

· Identify the key elements of film and screen media curatorship.

Assessment: Total Marks 400: Continuous Assessment 400 marks (6000 word Portfolio to incorporate: 2 essays; 1 online project [total: 200 marks]; EUFA project [100 marks]; one short visual project/film [100 marks]).

Compulsory Elements: Continuous Assessment.Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 10% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 20% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.

Pass Standard and any Special Requirements for Passing Module: 40% If a student misses one-quarter of scheduled classes, without supplying relevant documentation to the module coordinator, s/he will automatically fail the module

Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated.

COURSE OUTLINE FOR FX6017

This is a team-taught module running throughout the two semesters and involving a range of components, methods of delivery (lectures and seminars, masterclasses, screenings, theoretical and practical work, expert consultation, self-directed learning) and forms of assessment (written and audiovisual, portfolios, practice-based elements). It is designed to offer broad and in-depth knowledge of specialised areas of film and screen cultures and industries, with a particular emphasis on the interface between modes of production and of exhibition/dissemination, reception, and consumption.

Lecturers and Outline of topics

This is a flexible module that involves a number of teachers, areas and methods. The timetable will also be flexible to accommodate the different components of the course. The sections are discrete but not self-contained, in that they are in dialogue with each other, and are designed to deepen and broaden students’ understanding of film and screen media cultures and industries, as well as develop their skillset.

Assessments (400 marks in total for this module)

Total Marks 400: Continuous Assessment 400 marks ((6000 word Portfolio to incorporate: 2 essays of 2000 words [150 marks]; 1 online project [50 marks] (200 marks) + EUFA project [1,000 word + visual content and presentations: 100 marks] and one short visual project/film [100 marks]).

TIMETABLE:

(unless otherwise indicated, classes for this module take place on Mondays at 11-13h and thursdays at 14-16h. Additional times or changes will be announced)

EUFA STRAND: Your core course in semester 1 includes screenings and classes for the European University Film Awards (see below for more details of this scheme)

European University Film Award. In 2016, the European Film Academy (EFA) and Filmfest Hamburg launched the European University Film Award (EUFA) – a new award presented and voted for by university students across Europe. The aim of this initiative is to involve a younger audience, to spread the “European idea” and to transport the spirit of European cinema to an audience of university students. It also supports film dissemination, film education and the culture of debating. Based on the lists of feature films and documentaries from the European Film Award Selections, a committee of film experts will decide on the nominations: five films from five European countries. The announcement of the five EUFA nominations will take place in October during Filmfest Hamburg.

Afterwards, the five nominated films will be viewed and discussed in the respective university classes and each institution will select its favourite film. The films will be viewed exclusively by the students in the participating classes. The films will be made available via the EFA VOD Platform for this special purpose.In December, one student representative from each university will attend a two-day deliberation meeting in Hamburg. In the moderated debate the students will decide on the overall winner. The announcement of the winning film will take place in the week of the European Film Awards (December 2018). The initiative is supported by the Körber Foundation (www.koerber-stiftung.de), The Alfred Toepfer Stiftung F.V.S. (www.toepfer-stiftung.de) and Creative Europe Desk Hamburg (www.creative-europe-desk.de) and realised in co-operation with NECS–European Network for Cinema and Media Studies (www.necs.org) and Prix collégial du cinéma québécois (PCCQ) (www.prixcollegialducinema.ca).

SUGGESTED READINGS FOR STRAND A/ Eufa sessions/ JM

1. Elsaesser, Thomas. European Cinema: Face to Face with Hollywood. Amsterdam University Press, 2005.

CHAPTERS:

· European Culture, National Cinema, the Auteur and Hollywood

· ImpersoNations: National Cinema, Historical Imaginaries

· Film Festival Networks: the New Topographies of Cinema in  Europe

· Double Occupancy and Small Adjustments: Space, Place and Policy in the  New European Cinema since the 1990s

2. Harrod, Mary, Mariana Liz, and Alissa Timoshkina (eds), The Europeanness of European Cinema: Identity, Meaning, Globalization, I.B. Tauris, 2015.

CHAPTERS:

· The Europeanness of European Cinema: An Overview by Mary Harrod, Mariana Liz and Alissa Timoshkina

· Chapter 1 – European Cinema into the Twenty-First Century: Enlarging the Context? by Thomas Elsaesser

· Chapter 2 – Popular European Cinema in the 2000s: Cinephilia, Genre and Heritage by Tim Bergfelder

· Chapter 3 – Changing the Image of Europe? The Role of European Co-Productions, Funds and Film Awards by Anne Jackel

· Chapter 4 – From European Co-Productions to the Euro-Pudding by Mariana Liz

3. De Valck, Marijke. 2016. “Fostering Art, Adding Value, Cultivating Taste: Film Festivals as Sites of Cultural Legitimization.” In Film Festivals: History, Theory, Method, Practice, edited by Marijke De Valck, Brendan Kredell and Skadi Loist, 100–116. Abingdon: Routledge.

suggested reading for Film online/distribution & reception sessions/ ak

Crisp, Virginia. Besides the Screen: Moving Images through Distribution, Promotion and Curation. Houndsmills, Basingstoke, Hampshire; New York: Palgrave Macmillan, 2015. (in Boole Library)

Dahl, Stephan. Social Media Marketing: Theories and Applications. London: Sage, 2015. (in Boole Library)

Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006. (available as an ebook via Boole Library website; login required)

Kerrigan, Finnola. Film Marketing. Amsterdam; Boston ; London : Elsevier/Butterworth-Heinemann, 2010. (in Boole Library)

Mandiberg, Michael (ed). The Social Media Reader. New York: New York University Press, 2012. (available as an ebook via Boole Library website; login required)

Verevis, Constantine. Film Remakes. Edinburgh: Edinburgh University Press, 2006. (in Boole Library)

Wells, Paul. The Horror Genre. London: Wallflower, 2000. (in Boole Library)

Zanger, Anat. Film Remakes as Ritual and Disguise. Amsterdam: Amsterdam University Press, 2006. (in Boole Library)

Zeiser, Anne. Transmedia Marketing: From Film and TV to Games and Digital Media. New York: Focal Press, 2015. (in Boole Library)

Higley, Sarah L. and Jeffery Andrew Weinstock (eds.). Nothing that is: Millennial Cinema and the Blair Witch Controversies. Detroit: Wayne State University, 2002. (not in Boole Library; preview on Google Books)

Squire, Jason E (ed.). The Movie Business Book. 4th Edition. New York: Routledge, 2017. (not in Boole Library; preview on Google Books)

SEMESTER 1 SCHEDULE:

STRAND A: FOCUS ON FILM INDUSTRIES

(Dr. Abigail Keating; Mr. James Mulvey; Dr. Ciara Chambers)

Mon 9/9, 11am-1pm: General Introduction to the MA programme (Dr. Gwenda Young)

Thurs. 12/9, 2-4pm: FILM ONLINE: DISTRIBUTION AND RECEPTION (Dr Abigail Keating) * (*See indicative reading list above)

Mon. 16/9: INTRODUCTION TO EUROPEAN UNIVERSITY FILM AWARDS/ EUROPEAN CINEMA CONTEXTS (Mr. James Mulvey)

Thurs. 19/9: 2-4pm: FILM ONLINE: DISTRIBUTION AND RECEPTION (AK)

Mon 23/9: LIBRARY INFORMATION CLASS (see FX6018 schedule)

Thurs. 26/10: FILM ONLINE: DISTRIBUTION AND RECEPTION (AK)

Case Study 1: The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, US, 1999) and Blair Witch (Adam Wingard, US, 2016).

Mon. 30/9: ANNOUNCEMENT EUFA NOMINATIONS, FILMFEST HAMBURG & EUFA SCREENING 1 (JM)

Thurs. 3/10: FILM ONLINE: DISTRIBUTION AND RECEPTION (AK)

Case Study 2: Ghostbusters (Paul Feig, US, 2016)

Mon. 7/10: LIBRARY INFORMATION CLASS (see FX6018 schedule)

Thurs 10/10: EUFA film 1: Class discussion (JM)

Mon 14/10: EUFA screening 2


Mon 21/10: EUFA screening 3


Mon 28/10: BANK HOLIDAY

Thurs 31/10: EUFA Screening 4

Mon 4/11: (class will take place in lab) EUFA film 4: Class Discussion, Nomination of UCC student rep* (JM)

Thurs. 7/11: THE CINEMA NEWSREEL (Dr. Ciara Chambers)

Viewing: Please scroll down to the link at the bottom of this page for Episode 1 of Éire na Nuachtscannán http://www.irelandinthenewsreels.com/

Reading: Chambers, Ciara. “The Irish Question: The Newsreels and National Identity.” Researching Newsreels: Local, National and Transnational Case Studies, edited by Ciara Chambers, Mats Jönsson and Roel Vande Winkel, Palgrave, 2018, pp. 264-284.

McKernan, Luke. “Newsreels and History.”http://lukemckernan.com/2017/02/12/newsreels-and-history/

Mon. 11/11 EUFA Screening 5

Thurs 14/11: Cork Film Festival/free slot

Mon 18/11: EUFA FILM 5: CLASS DISCUSSION AND BALLOT: SELECTION OF 3 BEST FILMS (JM)

*(please note that during study week, which takes place from 2/12 to 6/12, the elected student ambassador will travel to Hamburg)

Thurs. 21/11: THE AMATEUR FILM (CC)

Viewing: Movie Mavericks https://vimeo.com/18915038

Reading: Motrescu-Mayes, Annamaria and Susan Aasman. “From Marginal to Mainstream: A History of Amateur Media. Amateur Media and Participatory Cultures: Film, Video and Digital Media. Routledge, 2019, pp. 15-43.

Chambers, Ciara. “The Spence Brothers: Amateur Sci-Fi and Cine Culture in Northern Ireland.” Small Gauge Storytelling: Discovering the Amateur Fiction Film, edited by Ryan Shand and Ian Craven. Edinburgh University Press, 2013, pp. 373-399.

Mon. 25/11: Screening of They Shall Not Grow Old (2018, Jackson)

Thurs. 28/11: ARCHIVING AND APPROPRIATION (CC)

Viewing: They Shall Not Grow Old (Peter Jackson, 2018) on StreamToMe

Reading: Baron, Jamie. The Archive Effect: Found Footage and the Audiovisual Experience of History. Routledge, 2014, pp. 1-15.

Napper, Lawrence. “They Shall Not Grow Old and the Elephant in the Room.” http://iamhist.net/2018/10/they_shall_not_grow_old/

W/C 2nd Dec. is study week. Classes recommence in January.

----------

SEMESTER 2 SCHEDULE

STRAND B: EXPLORING IDENTITIES IN CINEMA (AG; GY)

Mon. Jan 13th: Session 1: CREATIVE PRACTICE (AG)

Thurs. Jan 16th: CANADIAN CINEMA (GY): Introduction to Modern Canadian cinema: The tradition of documentary; the amateur scene; cinema from the “peripheries”

Films: Nanook of the North (1922, Flaherty)

Atanarjuat: The Fast Runner (2001, Zacharias Kunuk)

Jan. 20th: Session 2: CREATIVE PRACTICE (AG)

Jan. 23rd: CANADIAN CINEMA (GY): Films: Nanook & Atanarjuat /class discussion

Secondary sources:

Guide to the Cinema(s) of Canada edited by Peter Rist (Connecticut: Greenwood press, 2001)

Gerard Pratley. Torn Sprockets: The Uncertain Projection of the Canadian Film (U of Delaware press, 1987)

Rothman, William. Documentary Film Classics (Cambridge UP: 1997)

Rothman, William “The Filmmaker as Hunter: Robert Flaherty’s Nanook of the North” in Documenting the Documentary: Close Readings of Documentary Film and Video edited by Barry Keith Grant (Wayne State UP, 2013)

(plus pdfs that will be posted up on Canvas)

Jan 27th: Session 3: CREATIVE PRACTICE (AG)

Jan. 30th: CANADIAN CINEMA (GY): The Emergence of Modern Auteurs I: David Cronenberg

Film: Videodrome (1982)

Secondary sources:

Rodley, Chris. Cronenberg on Cronenberg (London: Faber, 1997)

Beard, William. The Artist as Monster

Browning, Mark. David Cronenberg (London: Intellect, 2007)

Grant, Michael. The Modern Fantastic: The Films of David Cronenberg (Connecticut: Praeger, 2000)


Feb. 3rd: Session 4: CREATIVE PRACTICE (AG)

Feb. 6th: CANADIAN CINEMA (GY): Auteurs II: Atom Egoyan

Films: The Adjuster (1991, Atom Egoyan)

The Sweet Hereafter (1997, Atom Egoyan)

Secondary sources:

Romney, Jonathan. Atom Egoyan (London: BFI, 2003)


Feb. 10th: Session 5: CREATIVE PRACTICE (AG)

Feb. 13th: CANADIAN CINEMA (GY): Auteurs IV: Patricia Rozema, Screening of White Room

Feb. 17th: Session 6: CREATIVE PRACTICE (AG)

Feb. 20th: CANADIAN CINEMA (GY): Auteurs III: Patricia Rozema

Film: White Room (1990)/ class discussion

Feb. 24th: W/C February 24th is the Department reading/viewing week and there will be no classes scheduled for FX6017, FX6018. Please check with your individual lecturers for option course schedules.

Mar. 2nd: Session 7: CREATIVE PRACTICE (AG)

Mar. 5th: CANADIAN CINEMA (GY): Auteurs IV: Robert LePage, Quebec Cinema traditions

Film: Le Confessional (1995, LePage)

Secondary sources:

Marshall, Bill. Quebec National Cinema (Montreal: McGill UP, 2000)

Mar. 9th: Session 8: CREATIVE PRACTICE (AG)

Mar. 12th: CANADIAN CINEMA (GY): Auteurs V: Sarah Polley/screening of Stories We Tell (2012)

Mar. 19th: CANADIAN CINEMA (GY): Sarah Polley/class discussion

Films: Away from Her (2006) * please watch before class

Stories We Tell (2012)

Secondary sources:

Raw, Laurence. “Stories we Tell” Journal of Film and Television Studies, Volume 44, 2014

Waites, Kate. “Sarah Polley's Documemoir Stories We Tell: The Refracted Subject” Biography, Volume : 38, 4, 2015


Mar. 23rd: CANADIAN CINEMA/ Screening of My Winnipeg (2008, Maddin)

Mar. 26th: CANADIAN CINEMA (GY): Auteurs VI: Guy Maddin

Film: My Winnipeg (2008, Maddin)

W/C: Mar. 30th is left open to accommodate any extra sessions or changes in schedules

FX6018 RESEARCH METHODOLOGIES SEMINARRequired text: mla handbook for writers of research papers. 8th ed. New york: mod. Lang. Assn., 2016.

Credit Weighting: 10Semester(s): Semesters 1 and 2.No. of Students: Min 6, Max 18.Pre-requisite(s): NoneCo-requisite(s): NoneTeaching Method(s): 12 x 1hr(s) Lectures (and presentations); 12 x 2hr(s) Seminars. Mondays 16-18h (TP1)& Tuesdays 10-12h (TP2) * unless otherwise indicated Module Co-ordinator: Dr Gwenda Young, Film and Screen Media.Lecturer(s): Staff, Film and Screen Media; Staff, Boole Library.Module Objective: To introduce students to the research skills and methodologies necessary for postgraduate work, and to assist them in the discovery and development of an MA dissertation topic.Module Content: Students will be introduced to referencing methods, library and IT research methods, with particular emphasis on research on Film and Screen Media; they will learn fundamental web based skills; they will be introduced to a variety of methodologies through research seminars held by local and visiting scholars and practitioners; and will develop their own research presentations, which will be discussed in seminars and will relate to their chosen dissertation topic.Learning Outcomes: On successful completion of this module, students should be able to:Write and prepare a detailed Works Cited.Assess films and screen media texts using a number of methodologies.Develop online contentUse electronic and print resources for dissertation and project research.Assessment: Total Marks 200: Continuous Assessment 200 marks (1 x 3,000 word research journal to include: reviews of research seminars (100 marks); thesis proposal& filmography/bibliographies (160 marks); In class presentation (30 marks); Attendance and contribution (10 marks)).Compulsory Elements: Continuous Assessment.Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 5% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 10% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated.

FX6018 RESEARCH METHODOLOGIES SEMINARRequired text: mla handbook for writers of research papers. 8th ed. New york: mod. Lang. Assn., 2016.


Semester(s): Semesters 1 and 2.

No. of Students: Min 6, Max 18.Pre-requisite(s): NoneCo-requisite(s): None

Teaching Method(s): 12 x 1hr(s) Lectures (and presentations); 12 x 2hr(s) Seminars. Mondays 16-18h (TP1)& Tuesdays 10-12h (TP2) * unless otherwise indicated

Module Co-ordinator: Dr Gwenda Young, Film and Screen Media.Lecturer(s): Staff, Film and Screen Media; Staff, Boole Library.

Module Objective: To introduce students to the research skills and methodologies necessary for postgraduate work, and to assist them in the discovery and development of an MA dissertation topic.

Module Content: Students will be introduced to referencing methods, library and IT research methods, with particular emphasis on research on Film and Screen Media; they will learn fundamental web based skills; they will be introduced to a variety of methodologies through research seminars held by local and visiting scholars and practitioners; and will develop their own research presentations, which will be discussed in seminars and will relate to their chosen dissertation topic.

Learning Outcomes: On successful completion of this module, students should be able to:Write and prepare a detailed Works Cited.Assess films and screen media texts using a number of methodologies.Develop online contentUse electronic and print resources for dissertation and project research.Assessment: Total Marks 200: Continuous Assessment 200 marks (1 x 3,000 word research journal to include: reviews of research seminars (100 marks); thesis proposal& filmography/bibliographies (160 marks); In class presentation (30 marks); Attendance and contribution (10 marks)).Compulsory Elements: Continuous Assessment.Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 5% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 10% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated.

FX6018 RESEARCH METHODOLOGIES SEMINAR: TIMETABLE /SEMESTER 1

(Seminars in semester 1 take place on Mondays at 16h unless otherwise indicated)

Mon 16 Sept. @ 4pm-6pm: Research Seminar 1: Dr. Phil Ramsay (University of Ulster): “The Political Economy of the Screen Industries in Northern Ireland”

Mon. 23 Sept.: 11-1pm*: Information Literacy I: Mr. Cathal Kerrigan (meet at turnstile in Library at 10.55)

Mon. 30 Sept. Writing Skills/ Dr. Loretta Goff

Mon. 7 Oct. 11-1pm:*: Information Literacy II: Richard Bradfield

*please note the change of time for these two Library sessions.

Mon. 21 Oct.: 4-6pm: Research seminar 2: Dr. Romana Turina (Queen’s University Belfast): Title TBC

Mon. 28 Oct. — BANK HOLIDAY/NO CLASS

Mon. 4 Nov. 4-6pm: MLA Citation system/ Dr. Loretta Goff

Mon. 11 Nov. 4-6pm: Cork Film Festival week. Students asked to write a review of the Festival as part of their coursework

Mon. 18 Nov. : Archival/primary source research/ Dr. Ciara Chambers

Fri. 22 Nov.: “Mining Memories: New explorations in cinema, memory and the past” Symposium

Mon. 25 Nov.: Choosing a Dissertation/Project Topic & Writing your thesis/Dr. Gwenda Young

Semester 2 (seminars take place on Tuesdays at 10-12 unless otherwise indicated)

Tues. 14 Jan. 10-12: Producing Audio-visual content/portfolios & blogs/Dr. Abigail Keating

Tues. 21 Jan. 10-12: Careers Talk/Shay Nolan, UCC Careers Office

Tues. 28 Jan. 10-12: “Careers in Film Festivals”/ Gráinne Humphreys, Director, Dublin International Film Festival

Tues. 4 Feb. 10-12: Guest speaker/TBC



w/c 24 Feb. is Department reading/viewing week – no classes

Tues. 3 Mar. 10-12: Thesis Presentations I

Tues. 10 Mar. 10-12: Thesis Presentations II

19

MA in Film and Screen Media Handbook 2019-20

Students will complete a written thesis/project proposal (approx. 1 x 1,000 word plus filmography and bibliography in MLA style: 160 marks). The written projects and PowerPoint presentations (in-class presentations: 30 marks) must be submitted via Turnitin by Monday 16 March 2020.

Students also submit a 1,500/2,000 word research journal to include reviews of research seminars (100 marks). The assessment includes an attendance and contribution mark (10 marks). Deadline: Monday 30 March 2020

FX6016 DISSERTATION IN FILM AND SCREEN MEDIA STUDIES


Semester(s): Semester 2.

No. of Students: Min 6, Max 18.

Pre-requisite(s): None

Co-requisite(s): None

Teaching Method(s): Other (Research in consultation with supervisor).

Module Co-ordinator: Dr Gwenda Young, Department of Film and Screen Media

Lecturer(s): Staff, Department of Film and Screen Media.

Module Objective: To give the student an opportunity to pursue further study in his/her chosen area, to develop research skills and to perfect his/her ability to communicate the research outcome in a written form.

Module Content: The dissertation consists of an intensive period of research on a specific topic and writing of dissertation under the guidance of a supervisor (or co-supervisors).

Learning Outcomes: On successful completion of this module, students should be able to:

· Identify a clear research topic

· Conduct independent research

· Write a structured dissertation

· Contribute to existing critical, theoretical and methodological debates within a specified field of study.

Assessment: Total Marks 800: Continuous Assessment 800 marks (Dissertation [16,000 words]).

Compulsory Elements: Continuous Assessment.

Penalties (for late submission of Course/Project Work etc.): Work which is submitted late shall be assigned a mark of zero (or a Fail Judgement in the case of Pass/Fail modules).

Pass Standard and any Special Requirements for Passing Module: 40%.

Formal Written Examination: No Formal Written Examination.

Requirements for Supplemental Examination: No Supplemental Examination.

FX6019: Creative Practice project






Teaching Method(s): Other (Research in consultation with Supervisor).

Module Co-ordinator: Prof Laura Rascaroli, Department of Film and Screen Media Lecturer(s): Staff, FSM.

Module Objective: To offer students the opportunity to develop their creative practice in the context of a supervised project; to develop their research skills and their technical skills in filmmaking and web-based practice; and to communicate their outcome in a project that combines creative practice, critical analysis and reflective writing.

Module Content: The module consists of an intensive period of research and critical reflection and the development of creative/practice-based skills and the creation of a project, on a specific topic, under the guidance of a supervisor (or co-supervisor).


· Identify a clear research into practice topic

· Conduct independent research

· Develop web, IT and creative practice skills

· Contribute to existing critical, theoretical and methodological debates within a specified field of study.

Assessment: Total Marks 800: Continuous Assessment 800 marks (Project: 8,000 word Reflective Journal [400 marks]; Short film/web-based project [400 marks]).





Requirements for Supplemental Examination: No Supplemental Examination.

DISSERTATION/PROJECT GUIDELINES

Sept–Oct: You should begin considering possible topics as soon possible in the first semester by discussing your ideas with the MA coordinators or other relevant members of staff.

Nov: Session of the Research Methodology Seminar on ‘Choosing a dissertation/project topic’

By December: You should begin preliminary research into your topic(s), ascertaining what material is out there already, and compiling a bibliography of works consulted (do get into the routine of taking notes, including page numbers and publication details from work that you consult as this will prove invaluable to you later on). By the end of the month you should have emailed 2–3 thesis/project ideas, indicating initial reading done, to the MA coordinator. The coordinator will then assist you in narrowing down your selection to one topic.

January: Research into your thesis/project topic and preparation of your presentation.

February: Students present their proposals in class and receive feedback from staff. They subsequently continue to work on their proposal, incorporating staff feedback.

Monday, March 16, 2020h: Students submit a completed thesis proposal form, including Works Cited and parenthetical references in MLA format. Email to [email protected]

End of March: These proposals are graded and supervisors assigned to each student

April: Students schedule an initial appointment to meet with their supervisors to discuss work schedules, deadlines etc. Submission of an in-depth outline of the thesis/project, including details on proposed content delineation of critical argument.

May–June–July: Students work with their assigned supervisors, submitting their work by agreed deadlines. Please note that students can avail of up to three hours of supervision; this can be a combination of meetings and supervision by email.

August: Students work independently on revising their thesis draft for submission to supervisor by 18th August.

September: Students work on final proofing of their thesis in preparation for binding and submission by the final deadline of Thursday 17 September 2020; this deadline is non-negotiable (unless medical certs can be supplied by the student). Please note that your final word count includes any footnotes but excludes Works Cited. Under MLA guidelines, you should keep footnotes to a minimum or dispense with them entirely. Please ensure you meet the word count of the thesis/project–any submissions that are significantly over or under the word count will be penalised (10% leeway).

Important note: All supervisors will discuss specific work deadlines with their students for April–August. Please remember that this is a full-time MA and you must work to deadlines—any job or holidays you take must be structured around the programme requirements. Failure to submit by the final thesis submission date will result in payment of further fees to UCC. It is the responsibility of the student to make sure they keep in touch with their supervisor, alerting them to any issues, problems that may arise.

OPTION MODULES

Please note that each module offered is subject to attainment of a minimum number of students. We cannot guarantee that all courses will run.

FX6004 FILM, FEMINISM AND PSYCHOANALYSIS

Credit Weighting: 10Semester(s): Semester 2No. of Students: Min 5, Max 15.Pre-requisite(s): NoneCo-requisite(s): NoneTeaching Method(s): 24hr(s) Seminars; 24hr(s) Directed Study.Module Co-ordinator: Dr Mary P. Noonan, Department of French.Lecturer(s): Dr Mary P. Noonan, Department of French.Module Objective: To situate the work of a number of (mostly French) film-makers in relation to a range of post-modern theory. In particular, the course will examine the areas of voice, the auditory, the gaze and haptic visuality in these films from the perspective of contemporary feminist and psychoanalytical theory.Module Content: Students will consider a range of films from the post-1960 period, including the work of film makers Agnès Varda, Alain Resnais, Robert Bresson, Krzysztof Kieslowski, Marguerite Duras, Catherine Breillat, Chantal Ackerman, Ana Lily Amirpour and Claire Denis, with a view to situating their innovative film practice in the post-modern context. A range of theoretical writings will be referred to, including work by Michel Chion, Luce Irigaray, Kaja Silverman, Laura U. Marks, Laura McMahon, Didier Anzieu and Martine Beugnet.Learning Outcomes: On successful completion of this module, students should be able to:Apply a range of contemporary theoretical approaches to the analysis of film.Situate the work of a range of French women film-makers within the context of contemporary cinema.Analyse the innovative cinematic practice of a number of film-makers.Assessment: Total Marks 200: Continuous Assessment 200 marks (1 x 4000 word essay:180 marks; in-class presentation: 20 marks).Compulsory Elements: Continuous Assessment.Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 5% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 10% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated.

COURSE OUTLINE FOR FX6004: Film, Feminism, Psychoanalysis Dr Mary Noonan

Time and venue: Semester 2, Friday 1–3pm, Media Room, French Department

Week 1: Introduction. Agnès Varda, La Pointe Courte (1955), Shorts

Week 2: Varda, Cleo from Five to Seven (1962)

Week 3: Varda, Vagabond (1983); The Gleaners and I (2000); The Beaches of Agnes (2008)

Week 4: Alain Resnais, Hiroshima Mon Amour (1959)

Week 5: Robert Bresson, Au Hasard, Balthazar (1966)

Week 6: Marguerite Duras, shorts (1979); Nathalie Granger (1972)

Week 7: Kieslowski, The Double Life of Véronique (1991)

Week 8: Claire Denis, Friday Night (Vendredi soir) (2002); Beau Travail (1999)

Week 9: Chantal Ackerman, Night and Day (1991)

Week 10: Catherine Breillat, Abuse of Weakness (2013)

Week 11: Ana Lily Amirpour, A Girl Walks Home Alone at Night (2015)

Week 12: Presentations

Secondary Reading

Luce Irigaray, This Sex Which Is Not One

Laura Mulvey, Visual and Other Pleasures

Michel Chion, Voice in Cinema

Didier Anzieu, Psychic Envelopes, The Skin Ego

Kaja Silverman, The Acoustic Mirror

Laura Marks, The Skin of the Film

Laura McMahon, Cinema and Contact

Martine Beugnet, Cinema and Sensation

FX6010 IRISH CINEMA: HISTORY, CONTEXTS, AESTHETICS

Credit Weighting: 10Semester(s): Semester 1.

No. of Students: Min 5, Max 15.Pre-requisite(s): NoneCo-requisite(s): None

Teaching Method(s): 12 x 2hr(s) Seminars; 12 x 2hr(s) Other (Screenings & Directed Study).Module Co-ordinator: Dr Barry Monahan, Department of Film and Screen MediaLecturer(s): Dr Barry Monahan, Department of Film and Screen Media

Module Objective: To provide students with an understanding of the evolution of film culture in Ireland within historical and contemporary discursive frameworks, and to develop abilities at understanding and analysing a series of indigenous films and foreign films about Ireland as cultural artefacts and artistic expressions.

Module Content: Students will study a range of films across the history of the sound period. Attention will be paid to different political and cultural moments as a national film industry struggled for foundation. Alternative perspectives on "Irishness" will be presented in non-native productions (especially from British and American production companies), and various narrative and aesthetic tendencies will be traced in an indigenous cinema as it developed from the beginning of the 1980s.

Learning Outcomes: On successful completion of this module, students should be able to:* Discuss the finer details of the history of cinema in Ireland, and outline key points of Irish film historiography* Demonstrate knowledge of the practices and productions of non-indigenous filmmakers* Relate specific cinematic themes to the contexts of films' production* Show analytical capability in the understanding and reading of cinematic styles and construction, as have been practiced by Irish filmmakers.

Assessment: Total Marks 200: Continuous Assessment 200 marks (1 in-class presentation to be subsequently submitted as 1 x 1500 word document [60 marks] and 1 x 3000 word essay [140 marks]).


Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 5% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 10% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.

Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated.

FX6010 – IRISH CINEMA: HISTORY, CONTEXTS, AESTHETICS: COURSE OUTLINE

Lecturer: Barry Monahan

Phone: 490 2515

E-mail: [email protected]

Timetable:

Screenings and Seminars:

Monday 13.00–15.00, Kane Auditorium (Screenings)

Thursday 9.00–11.00, Kane Auditorium (Seminars)

Course outline:

The course will present a range of films across the history of the sound period. Attention will be paid to perspectives on “Irishness” as evident in non-native productions (especially from British and American production companies), and to various narrative and aesthetic tendencies will be traced in an indigenous cinema as it developed from the beginning of the 1980s. From this period the course will look at a series of trends that developed in Irish cinema until the suspension of the Film Board in 1987, during the years of its deactivation, and then following its reactivation in 1993. By considering aesthetic, sociological and historical contexts, students will analyse a number of contemporary indigenous films and will acquire knowledge about the changes in the relationship between the written and the filmed text.

Semester 1

Week 1 (College Return, Monday September 9, 11.00)

Introduction to the MA in Film and Screen Media

Introduction to module: Thursday September 12

Week 2 (Monday September 16, Thursday September 19):

Screening:Man of Aran (Flaherty, 1934)

Seminar:Documentary realism and ideological conventions

Week 3 (Monday September 23, Thursday September 26):

Screening:Odd Man Out (Reed, 1947)

Seminar:British representations and the “Northern question”

Week 4 (Monday September 30 , Thursday October 3):

Screening:The Quiet Man (Ford, 1952)

Seminar:American representations and the rural idyll

Week 5 (Monday October 7, Thursday October 10):

Screening:This Other Eden (Box, 1959)

Seminar:An Irish studio: identity interrogation and performance

Week 6 (Monday October 14, Thursday October 17):

Screening:The Rocky Road to Dublin (Lennon, 1968)

Seminar:Narratives of self, history and nation

Week 7 (Monday October 21, Thursday October 24)

Screening:Maeve (Murphy, 1981)

Seminar:New voices and perspectives on Northern Ireland

Week 8 (Monday October 28 – BANK HOLIDAY, Thursday October 31)

Screening:Ourselves Alone? (Taylor Black, 1995)

Week 9 (Monday November 4, Thursday November 7):

Screening:When Brendan Met Trudy (Walsh, 2000)

Seminar:Intertextual play and generic appropriation

Week 10 (Monday November 12):

Screening:Adam and Paul (Abrahamson, 2004)

Seminar:Cinema and the contemporary city: insiders and outsiders


Screening:Snap (Winters, 2010)

Seminar: Marginalised voices and alternative forms


Overviews and Presentations

RECOMMENDED READING:

A number of articles and book chapters will be provided for weekly reading in a course booklet; for further research and assignment preparation, the following core textbooks are recommended.

Asava, Zélie. The Black Irish on Screen: Representing Black and Mixed-Race Identities on Irish Film and Television (Oxford, Bern; Peter Lang, 2013)

Barton, Ruth. Irish National Cinema (London, New York; Routledge, 2004)

Barton, Ruth. Screening Irish-America: Representing Irish-America in Film and Television (Dublin, Portland; Irish Academic Press, 2009)

Barton, Ruth & Harvey O’Brien (eds). Keeping it Real: Irish Film and Television (London, New York; Wallflower Press, 2004)

Bracken, Claire & Emma Radley (eds). Viewpoints: Theoretical Perspectives on Irish Visual Texts (Cork; Cork University Press, 2013)

Crosson, Sean & Rod Stoneman (eds). The Quiet Man ... and Beyond: Reflections on a Classic Film, John Ford and Ireland (Dublin; The Liffey Press, 2009)

Gillespie, Michael Patrick. The Myth of an Irish Cinema: Approaching Irish-Themed Films (Syracuse; Syracuse University Press, 2008)

Ging, Debbie. Men and Masculinities in Irish Cinema (New York, London; Palgrave Macmillan, 2013)

Hill, John, Martin McLoone and Paul Hainsworth (eds.). Border Crossing: Film in Ireland, Britain and Europe (Ulster, London; Institute of Irish Studies & BFI Publishing, 1994)

Holohan, Conn. Cinema on the Periphery: Contemporary Irish and Spanish Film (Dublin, Portland; Irish Academic Press, 2010)

Holohan, Conn & Tony Tracy. Masculinity and Irish Popular Culture: Tiger’s Tales (New York, London; Palgrave Macmillan, 2014)

MacKillop, James. Contemporary Irish Cinema: from The Quiet Man to Dancing at Lughnasa (Syracuse, New York; Syracuse University Press, 1999)

McIlroy, Brian. Genre and Cinema: Ireland and Transnationalism (New York, London; Routledge, 2007)

McLoone, Martin. Irish Film: The Emergence of a Contemporary Cinema (London; BFI Publishing 2000)

Monahan, Barry. Irish Theatre on Film: Style, Stories and the National Stage on Screen (Dublin; Irish Academic Press, 2009)

Monahan, Barry (ed.). Ireland and Cinema: Culture and Contexts (New York, London; Palgrave Macmillan, 2015)

Monahan, Barry. The Films of Lenny Abrahamson: A Filmmaking of Philosophy (New York, London, Oxford, New Delhi & Sydney: Bloomsbury Academic, 2018)

Negra, Diane. The Irish in Us: Irishness, Performativity, and Popular Culture (Durham, London; Duke University Press, 2006)

Pettitt, Lance. Screening Ireland (Manchester, New York; Manchester University Press, 2000)

Rockett, Kevin, John Hill & Luke Gibbons. Cinema and Ireland (London; Routledge, 1988)

Rockett, Kevin & John Hill. National Cinema and Beyond (Dublin; Four Courts Press, 2004)

Rockett, Kevin & Emer Rockett. Neil Jordan: Exploring Boundaries (Dublin; The Liffey Press, 2003)

FX6014 INTRODUCTION TO CREATIVE PRACTICE **Please note that this is a foundational course on creative practice and therefore not open to students that have completed the BA in Film and Screen Media or that are already proficient in practical filmmaking






Teaching Method(s): 12 x 2hr(s) Seminars; 12 x 2hr(s) Other (Practicals).

Time/Venue: 15-17h Tuesdays, Kane Auditorium

Module Co-ordinator: Dan O’Connell, Film and Screen Media

Lecturer(s): Mr Dan O'Connell, Department of Film and Screen Media.

Module Objective: To introduce students to the theory and practice of digital media.

Module Content: This module introduces students to the theory and practice of digital media production. Students will work within assigned groups on the production of a short film and a documentary.

Learning Outcomes: On successful completion of this module, students should be able to: Collaborate on the conceptualization, planning and writing of a short film and a documentary; Acquire a comprehensive knowledge of the techniques and industry-standard tools used in the Digital Media Industry; Articulate the key concepts in theories of digital media; Produce, direct, shoot and edit a series of short practical projects.

Assessment: Total Marks 200: Continuous Assessment 200 marks (Practical Project [40 marks]; Presentation [20 marks]; Written Project [20 marks]; Group Practical Project [60 marks]; Group Participation (Role) [60 marks]).


Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 10% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 20% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.



Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated (Students must submit alternative assessment as prescribed by the programme).

FX6014 INTRODUCTION TO CREATIVE PRACTICE: COURSE OUTLINE

WEEK #

W/C

Session 1

Session 2

1

9 Sep

Introduction to Digital Filmmaking

Labs / Equipment / Procedures

2

16 Sep

C100 / Creative Controls

C100 / Creative Controls

3

23 Sep

Screenwriting with Celtx

Cine Primes - Hands on with C100

4

30 Sep

Project Lumière

Project Lumière (set project)

5

7 Oct

Sound Recording

Interviews & Lighting

6

14 Oct

Final Cut Pro X Introduction

Lumière DEADLINE (in class submission)

7

21 Oct

Deadline: Screenplay & Presentation (pitch)

Conventions

8

28 Oct

Shooting a dialogue scene

Shooting a dialogue scene

9

4 Nov

Advanced equipment Jib (Crane), Slider, Ronin MX

Advanced equipment

10

11 Nov

Reading week

Reading week

11

18 Nov

Documentary Filmmaking

Documentary Filmmaking

12

25 Nov

Supervised Shoot/Editing

Supervised Shoot/Editing

14

9 Dec

Deadline: Group Projects

PROJECTS:

Project Lumière (40 marks) Deadline: Tue, 15 October 2019.

· 20 - Creative/Critical

· 20 - Technical/Aesthetic

Screenplay (20 Marks) Deadline: Tue, 22 October 2019.

· 10 - Formatting


Presentation (20 Marks) Deadline: Tue, 22 October 2019.

· 5 - Skills

· 5 - Preparation


· 5 - Feasibility  

Group (120 Marks) Deadline: Fri, 13 December 2019.

· 60 - Group Mark

· 60 - Participation (500-word reflection)

CS6104 Digital Video Capture and Packaging*

*Please note that this module has a maximum intake of 6 FSM students. This course must be taken with CS6504

Credit Weighting: 5Semester(s): Semester 1.Pre-requisite(s): NoneCo-requisite(s): NoneTeaching Method(s): 24 x 1hr(s) Lectures; 12 x 1hr(s) Practicals.

Time/Venue: 17-19h Wednesdays, Computer Science dept. Lab times: Thurs. 12-1 (tbc)Module Co-ordinator: Dr Ian Pitt, Department of Computer Science.Lecturer(s): Dr Ian Pitt, Department of Computer Science.Module Objective: Develop expertise in digital video capture, processing and packagingModule Content: Develop understanding of the planning, production and post-production of digital video. Application and evaluation of industry-standard tools in capturing, processing and packaging digital video.Learning Outcomes: On successful completion of this module, students should be able to:Acquire a comprehensive knowledge of the techniques and industry-standard tools used in the Digital Media Industry; Determine the correct use of these techniques and tools through a comprehensive understanding of the underlying theoretical and programming principles; Develop understanding of the potential for new technologies and their new creative uses; Evaluate the effectiveness of these techniques and tools in a variety of situations; Apply these techniques and tools to produce digital media projects; Design, plan and communicate the results of, digital media projects.Assessment: Total Marks 100: Formal Written Examination 70 marks; Continuous Assessment 30 marks (tests; individual and group project work).Compulsory Elements: Formal Written Examination; Continuous Assessment.Penalties (for late submission of Course/Project Work etc.): Where work is submitted up to and including 7 days late, 5% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 10% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: 1 x 1.5 hr(s) paper(s) to be taken in Winter 2018Requirements for Supplemental Examination: 1 x 1.5 hr(s) paper(s) to be taken in Autumn 2019. The mark for Continuous Assessment is carried forward.

COURSE OUTLINE FOR CS6104

Lecture:

Wednesdays 5-7pm in WGB G08

Practical sessions:

Thursdays 12-1 in lab wgb 1.15 (TBC)

Content:

· Film and Video Technology: Background

· Video Image Capture

· Video Image Display

· Video and Audio Data Compression

· Video File Formats and Media

· Video Production

· Framing

· Cuts and Transitions

· Compositing

· Lighting

· Timecode and Editing

· Exposure, Depth-of-Field and Colour Balance

· Video Quality Analysis

The laboratory sessions centre around the use of Final Cut Pro and cover the following topics:

· Introduction to the cameras and editing environment

· Basic Editing in Final Cut Pro

· Transitions

· Visual Effects

· Audio Mixing and Effects

· Compositing – titles

· Compositing – images

· Colour Correction

· Video Analysis and Correction

· Packaging and Exporting Video Files

*****

CS6504DIGITAL VIDEO PROJECT (5 CREDITS)

Credit Weighting: 5



Pre-requisite(s): None// Co-requisite(s): CS6104

Teaching Method(s): 5month(s) Directed Study (Directed reading, individual research).

Module Co-ordinator: Dr Ian Pitt, Department of Computer Science.

Lecturer(s): Dr Ian Pitt, Department of Computer Science.

Module Objective: Apply and develop the skills taught in CS6104, i.e., develop understanding of the planning, production and post-production of digital video; application and evaluation of industry-standard tools in capturing, processing and packaging digital video.

Module Content: The student undertakes a digital video project, approved by the Department of Computer Science, which builds on the skills that have been introduced in CS6104.


plan a substantial video project, demonstrating appropriate use of storyboarding and other techniques

make informed decisions regarding choice of equipment, software tools, formats, location, camera-angles, lighting, etc., when capturing material

choose and employ appropriate tools for editing and post-production

package the finished material suitably for the chosen delivery media/platforms.

Assessment: Total Marks 100: Continuous Assessment 100 marks (The project consists of a written report and a delivered digital video project).





Requirements for Supplemental Examination: Marks in passed element(s) of Continuous Assessment are carried forward, Failed element(s) of Continuous Assessment must be repeated (as directed by the Module Coordinator).

GE6020 QUESTIONS OF ADAPTATION AND ADOPTION: RE-WRITINGS / RE-VIEWINGS / RE-READINGS

Credit Weighting: 10Semester(s): Semester 2.No. of Students: Min 6, Max 15.Pre-requisite(s): NoneCo-requisite(s): NoneTeaching Method(s): 12 x 2hr(s) Seminars ( 24 hrs independent reading).Module Co-ordinator: Dr Rachel Magshamhrain, Department of German.Lecturer(s): Dr Rachel Magshamhrain, Department of German; Staff, School of Languages, Literatures and Cultures.Module Objective: To introduce students to the burgeoning field of adaptation studies (also known as comparative adaptation theory) as a sub-discipline of comparative literature, and to apply existing scholarship in this field and its critical apparatus to a selection of literary, film and graphic texts. Students will gain a critical understanding of the "transmigration of ideas" across time, cultural, social, political and geographical boundaries, as well as back and forth across media. Relatedly, students will also be able to identify and apply the main principles of intertextual criticism.Module Content: In this module, students will analyse a selection of primary literary, graphic and film texts, tracing their di- and con-verging approaches to 7 broad and often overlapping core storylines, plots or ideas: the creation plot; the family plot; the (unrequited) love story; the revenge plot; the tale of the outsider/upstart; the crime plot; the righting of wrongs / (social) crusader / saviour plot. Students will reflect on whether and how the specificities of different cultures and the media chosen alter how these core storylines are presented, and also, diachronically, examine whether and to what extent concerns of different periods cause changes in these seemingly perennial concerns.Learning Outcomes: On successful completion of this module, students should be able to:Identify core critical positions, concerns and issues in the field of adaptation theory, applying this to new texts and 'throughlines' not dealt with in classEngage in original and independent research in the field of adaptation theory, including compiling bibliographiesProduce independently-researched academic texts on the subject that are critical, innovative, and adhere to the accepted standards for academic thought and writing at postgraduate level.Assessment: Total Marks 200: Continuous Assessment 200 marks ( 3,000 -4,000 word essay).Compulsory Elements: Continuous Assessment (Project).Penalties (for late submission of Course/Project Work etc.): Work which is submitted late shall be assigned a mark of zero (or a Fail Judgement in the case of Pass/Fail modules).Pass Standard and any Special Requirements for Passing Module: 40%.Formal Written Examination: No Formal Written Examination.Requirements for Supplemental Examination: The mark for Continuous Assessment is carried forward (Failed element(s) of Continuous Assessment must be repeated and resubmitted as prescribed by the Module coordinator.).

COURSE OUTLINE FOR GE6020

Time and Venue: Fridays 13:00-15:00 in ORB 1.44, Semester 2

Coordinator: Dr. Rachel MagShamhráin

Tel: (490) 2689


Course Objectives: This module introduces students to key ideas and issues in Adaptation Studies. It looks at the transmission, mutation, and transmedialization / remediation (Bolter & Grusin) of narratives. It focuses on the consequences for a story of its adoption by another medium, for another purpose, or in another time, asking, for example, what a screenplay omits from a novel, for what reasons, and with what consequences. In its examination of core issues of adaptation, appropriation and intertextuality, it also looks at related questions of originality, genius, authorship and ownership.

Assessment: Continuous Assessment 200 marks (= 1 x 3-4,000 word project based on in-class presentation). Submission deadline for essays / projects announced in class. Assignments are submitted to the Secretary’s Office in the German Department (ORB 1.38). Upon submission of your work you must complete an Essay Submission Form to be returned to the Administrator, who will then issue you with a receipt.

Course Schedule (indicative)

· Introduction

Week 1Introduction to Course: The Problematic Field of Adaptation Studies: Adaptation Theory and Adaptation as Practice: Example Edgar Allen Poe’s “The Tell-Tale Heart”

Week 2Endlessly Retold: Fairy Tales in Adaptation: Angela Carter and Niall Jordan’s The Company of Wolves

Week 3Allegories of Adaptation: The many returns of Martin Guerre

· Ethics

Week 4Stolen Stories: F for Fake (Orson Welles, 1974)

Week 5Adapting Real Life: Two Approaches to the Portrayal of Aileen Wuornos in Monster (Patty Jenkins, 2003) and the Nick Broomfield documentaries

· Remake

Week 6Gender & Time: Edna Best into Joe McKenna: Two Versions of The Man Who Knew Too Much

· Genre

Week 7From Film to Series: movie to TV remakes: Psycho -> Bates Motel

· Student-led Workshops*

Week 8 - 11Student group projects x 2 each week

· Final Session

Week 12Conclusion, course review and discussion of assignments

NOTES:

Bibliography / readings for each section will be distributed in class and should be read fully.

Viewing: Students can either organize group screenings in Boole Library Viewing Rooms in advance of the relevant session, or view individually. Group screenings are recommended. Boole bookings can be made at the AV desk on Boole 3. Some material is only available online. It is assumed that students will have access to online streaming services like Netflix.

Assessment: In groups of 2 students will present adaptations in class in weeks 8-11. They will organize any reading material, viewings, the week before, which all of the group will engage with in advance of the session. Each presentation will be structured as:

· Student presentation (30 minute group presentation; 2 students per group)

· Presenter-led group discussion (30 minutes)

The project will be presented in written form for submission as the end-of-term ‘essay.’ The submission should incorporate, where relevant, ideas from the group discussion. A list of topics will be distributed at the start of the course from which students can choose. If a pair of students would like to collaborate on other material, this can be arranged in consultation with the lecturer. While the course focus is on screen adaptations, students are not restricted to this. Adaptations in and between other media are encouraged. Students have the option in their projects of taking a critical-theoretical or creative approach to their work. In other words, they may either analyse and critique existing material, or produce and comment upon their own adaptation, or a combination of both. If students are submitting new creative material (for example films), the format must be agreed with the coordinator in advance. Creative work must be accompanied by written analysis as grades will be awarded on the intellectual insights the material allows into adaption as a process. The primary material, whether already existing or new must serve to illustrate some point about adaptation as a process and into adaptation studies as an academic field.

MU6037 Music and Cinema


Teaching period: Semester 2

Time/Venue: Tuesdays 16-18 (seminars); Wednesdays 11-13 (screenings).

All screenings and seminars will take place in the Department of Music on Sunday’s Well Road



Lecturer: Dr Danijela Kulezic-Wilson, Department of Music.

Module Objective:

To develop an understanding of the field of film music studies and its place within the wider discipline of film studies. To develop a working knowledge of analytical and critical methodologies applied to the study of film music.

Module Content: An exploration of some of the critical issues raised by the role of music in film. The course will offer an introduction to the rapidly emerging field of film music studies, providing students with the critical tools to address a number of key questions: what functions does music perform in film; how does it relate to image and dialogue; what are the prevalent conventions of scoring and how do they relate to alternative practices? Students will apply these questions to case studies representative of a range of historical, cultural and aesthetic practices, from classical Hollywood to the contemporary pop soundtrack.


· demonstrate awareness of the major issues in film music scholarship.

· compare and evaluate appropriate methodologies for the analysis of film music.

· engage critically and in depth with film music practices.

· identify interactions between film theory and musicology.

Assessment: Total Marks 200: Continuous Assessment 200 marks (1 x 4000 word essay (100 marks) + 20-minute presentation (50 marks) + Continuous Assessment (50 marks)).


Penalties for late submission: Where work is submitted up to and including 7 days late, 10% of the total marks available shall be deducted from the mark achieved. Where work is submitted up to and including 14 days late, 20% of the total marks available shall be deducted from the mark achieved. Work submitted 15 days late or more shall be assigned a mark of zero.

MODULE OUTLINE:

Week 1, Sept. 12th: Introduction; Film music terminology: diegetic/nondiegetic, metadiegetic, fantastical gap, audiovisual counterpoint

Week 2, Sept. 19th: Narrative spaces and the ambiguity of musical sources

Week 3, Sept. 26th: Classical Hollywood scoring

Week 4, Oct. 3rd: Classical Hollywood scoring and “corporate classicism”

Week 5, Oct. 10th: Popular music and compilation scoring

Week 6, Oct. 17th: Modernism in film scoring

Week 7, Oct. 24th: Auteur soundtrack

Week 8, Oct. 31st: Case studies: Call Me by Your Name (Luca Guadagnino, Italy, France, Brazil, USA, 2017) and You Were Never Really Here (Lynne Ramsey, UK, France, USA 2017)

Week 9, Nov. 7th: Innovative approaches to film soundtrack

Week 10, Nov. 14th Case study: Berberian Sound Studio, Peter Strickland, 2012.

Week 11, Nov. 21st: Case study TBC

Week 12: Nov. 28th: Class presentations

Screenings:

Week 1, Sept. 10th: Atonement (Joe Wright, UK, 2007)

Week 2, Sept. 17th : Birdman (Alejandro González Iñárritu, US, 2014)

Week 3, Sept. 24th: Mildred Pierce (Michael Curtiz, US, 1945)

Week 4, Oct. 2nd: The Dark Knight (Christopher Nolan, UK/US, 2008)

Week 5, Oct. 9th: Marie Antoinette (Sofia Coppola, USA/France/Japan, 2006)

Week 6, Oct. 16th : Vivre sa vie (Jean-Luc Godard, France, 1962).

Week 7, Oct. 23rd: Call Me by Your Name (Luca Guadagnino, Italy, France, Brazil, USA, 2017)

Week 8, Oct. 30th: You Were Never Really Here (Lynne Ramsey, UK, France, USA 2017)

Week 9, Nov. 6th: Under the Skin (Jonathan Glazer, UK/USA/Switzerland, 2013)

Week 10, Nov. 13th: Berberian Sound Studio (Peter Strickland, UK, 2012)

Week 11, Nov. 20th: TBC

Week 12: Nov. 27th: Class presentations

RECOMMENDED READING LIST:

Books:

Adorno, Theodor & Eisler Hanns. Composing for the Films. London: Athlone PB repr, 1994.

Ashby, Arved, ed. Popular Music and the New Auteur: Visionary Filmmakers After MTV. New York: Oxford University Press, 2013.

Bordwell, David. Narration in the Fiction Film. London: Routledge: 1997.

Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley: California University Press, 1994.

Buhler, James, Caryl Flinn, and David Neumeyer, eds. Music and Cinema. Hanover/London: Wesleyan University Press, 2000.

Chion, Michael. Audio-Vision: Sound on Screen, ed/ trsl. by Claudia Gorbman. New York: Columbia University Press, 1994.

Cook, Nicholas. Analysing Musical Multimedia. Oxford: Clarendon Press, 1998.

Cooke, Mervyn. A History of Film Music. Cambridge: Cambridge University Press, 2008.

Davison, Annette. Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. London: Ashgate, 2004.

Donnelly, Kevin J., ed. Film Music: Critical Approaches. Edinburgh: Edinburgh University Press, 2001.

________ The Spectre of Sound: Music in Film and Television. London: BFI, 2005.

Flinn, Caryl, Strains of Utopia: Gender, Nostalgia and Hollywood Film Music, Princeton, NJ: Princeton University Press, 1992.

Goldmark, Daniel, Lawrence Kramer and Richard Leppert, eds. Beyond the Soundtrack: Representing Music i

· web viewthe course will present a range of films across the history of the sound period....

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