WEA Course Information Sheet2015-16

S:\WEAMISdata\EA\Course Information Sheets 2015.16\C2222378_outline.doc

Course title: Introducing International Cinema
Course reference: C2222378 / Tutor(s): Laurence Staig
Venue: Castle Methodist Church (Colchester) / Fee: £70.00
Start date:24/09/2015 / End date:03/12/2015 / Day(s)/time(s): Thursdays 10:00
Number of sessions: 10 / Hours per session: 2(+1) / Level: 3
Title of qualification to be gained (if any): n/a
Awarding body (if any): n/a
Essential materials e.g. books and equipment to be provided by the student
None.
Course aims:
This course will introduce students to International Cinema. We will examine a range of Film Movements including Italian Reo-Realism (e.g. The Bicycle Thieves, Umberto D), German Expressionism (e.g. Nosferatu, Cabinet of Dr Caligari), Russian (Eisenstein) and Japanese Cinema (Kurosawa) and French New Wave (Godard). Students will also look at cult sub-genres, contemporary European cinema and the wave of new Japanese cinema. Students will develop a critical understanding of the aesthetic, historical and ideological dimensions of World Cinema. (Note – branches who have taken this Tutor’s previous film courses will have case study examples amended accordingly).
Course description:
This course will introduce International / World Cinema. We will look at examples of Film Movements and great International Directors including some of the greatest films ever made.
Any prior knowledge or entry requirements?
There are no particular skills requirement other than an interest in films and cinema and a willingness to develop critical skills. The level of the course will be somewhere between a general introduction and an A level, through to a first year undergraduate course.
Course content: what topics will the course cover?
Alongside experiencing great moments in World Cinema and their historical significance and context, you will develop analytical skills. This means you learn how to read a film so that you will be able to analyse film texts using the appropriate technical language. We will also examine how a Macro analysis of film is undertaken so that you can understand film from the perspective of genre and narrative – that is how the story is told. We will be flexible as to how we work through the course so there will be opportunities for the examination of students’ own interests
Teaching, learning and assessment methods:tick those to be used 
Demonstration / Discussion /  / Group work /  / Individual work / 
Project work / Research /  / Role play / Written work
Question and answer /  / Activity outside class time / Observation /  / Practical work
Presentation /  / Field trip / Other (state) Textual analysis
How will I receive feedback on my learning progress and achievement?
There will be opportunities to discuss and test the development of your knowledge, appreciation and analytical skills, through open discussion, frequent plenaries and question and answers. You should also start to develop an enquiring mind as to how film makers make meaning. As you develop confidence your skills of evaluation and appreciation will develop also.
Learning outcomes: these are the intended outcomes and may be revised in discussion with the class. Students are encouraged to think about and identify their own individual outcomes.
By the end of the course, students should be able to:
  1. De-construct and analyse a film sequence using technical language in micro detail.
  2. Analyse a film from the point of view of genre and narrative construction – a macro analysis
  3. Discuss some theory of film authorship – narrative theory and genre.
  4. Contextualise key time line points in the development of World Cinema.
  5. Critically evaluate International Cinema: from a variety of new perspectives, including those that have acquired cult status and experience tasters of a range of great films you may never have heard of.

Reading and information sources:
Suggested reading:
A Film Odyssey – Mark Cousins
David Bordwell and Kristin Thompson, Film Art, 5th edn (New York: McGraw-Hill, 1997)
Pam Cook and Mieke Bernink, eds., The Cinema Book, 2nd edn (London: BFI, 1999)
Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996)
James Monaco, How to Read a Film (New York: OUP, 1977)
Amy Villarejo, Film Studies; The Basics (London: Routledge, 2007)
James Chapman - Cinemas of the World: Film and Society from 1895 to the Present, London : Reaktion, 2003
Geoffrey Nowell-Smith (ed.) - The Oxford History of World Cinema, Oxford: Oxford University Press, 1997
David Shipman - The Story of Cinema: An Illustrated History (2vols.), London: Hodder & Stoughton, 1982-84.
Suggestions for progression to further study or for using the skills and knowledge gained:
The course could be a starting point for another course of film study with the WEA or another provider. You could also join a film appreciation group – just like a Book Reading circle or pursue your own course of studies further. You may even consider film study at a higher academic level as there are many courses available throughout the UK
You can read about your entitlements and responsibilities as a WEA student in our leaflet, Services for Students here This includes information on fees, learning support and financial support.
As part of your first course you accept a learning agreement. This applies to all courses you take in this academic year. You should have a copy of the learning agreement (the tear-off portion of your enrolment form), but if not please ask for a copy from your tutor.
You can enrol online for some courses
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