Time: 18:00 - 21:00
Location: Keeley Street
This course has now started
What is the course about?
André Bazin’s ciné-club was set up by him not simply as an opportunity for the screening and discussion of films, but as a tool for education. Bazin was as much a passionate advocate for the transformatory effects of community learning as he was for the significance of cinema and the ciné-club represented an opportunity for him to promote both. As one commentator has noted, ‘though he didn’t live to see the first flowering of academic film theory in the late 60s, the pedagogic side of Bazin would doubtless have been gratified that cinema was no longer a trivial pursuit but henceforth a serious discipline calling for the most concentrated attention and rigour’. In following Bazin, the Cultureplex Ciné-Club shares these same goals. This is a film studies course that foregrounds the importance and the value of the collective film viewing experience, but which also is concerned to ensure that the films screened are curated, introduced and discussed with the rigour associated with the study of film at City Lit.
This will be the first of the three Cultureplex Ciné-Club courses this year (the others will run in Terms 2 and 3). Films screened will come from the list below and might include:
The General (Buster Keaton and Clyde Bruckman 1926 US)
M (Fritz Lang 1931Germany)
Citizen Kane (Orson Welles 1941 US)
Bicycle Thieves (Vittorio de Sica 1948 Italy)
Tokyo Story (Yasujiro Ozu 1953 Japan)
Breathless (Jean-Luc Godard 1960 France)
Playtime (Jacques Tati 1967 France)
2001: A Space Odyssey (Stanley Kubrick 1968 UK/USA)
Blue Velvet (David Lynch 1986 US)
In the Mood for Love (Wong Kar Wai 2000 China)
Faces/Places (Agnès Varda and JR 2017 France)
Titane (Julia Ducournau 2021 France)
Please note that films screened are subject to availability and may change.
What will we cover?
• The history of film as expressed through individual, indicative films
• The historical development of film form
• The development of cinematic self-expression through the articulation of a distinct visual style
• Film spectatorship, understood in both personal, historical and theoretical terms.
What will I achieve?
By the end of this course you should be able to...
• Subject a film to detailed critical analysis
• Demonstrate familiarity with the key technical terms necessary for critical film analysis
• Have a broad awareness of important moments in film history as expressed through individual indicative films
• Be familiar with a range of theoretical perspectives in film studies
• Feel confident in discussing films in a group setting.
What level is the course and do I need any particular skills?
The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film. The course will provide an introduction to aspects of the film subject area, in part through the collective viewing of films, but it will also be useful for those wishing to build on existing film knowledge.
How will I be taught, and will there be any work outside the class?
An introduction by the tutor, the screening of entire films, and large group discussions after the films have been shown. It might also be a good idea to see what you can find out about a given film in advance of the class but this is not essential.
Are there any other costs? Is there anything I need to bring?
You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts.
When I've finished, what course can I do next?
The Cultureplex Ciné-Club courses HF324 and HF328 follow on from this one in Terms 2 and 3, but look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.
Dr. Paul Sutton is an independent film scholar who has taught Film Studies in UK higher education for over 25 years. His research covers psychoanalytic and film theory as well as Italian and French cinema and critical theory. He has published articles in journals such as Screen, French Studies and the Journal for Cultural Research. He is currently writing a psychoanalytic book on film spectatorship, Afterwardsness in Film, and has recently published work on television as a form of palliative care, and an assessment of the films of the Italian experimental filmmaker Ugo Nespolo.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.