Film studies

Godard’s definition of cinema is particularly apt for documentary. But today, documentary is at a crossroads, with first person, self-shot, iPhone filmmaking at one end of the spectrum and mega budget, celebrity-fronted or focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future.







Dr Paul Kerr began his career working at the BFI, working in the National Film Archive, and as a freelance film and TV critic and lecturer. He then spent over 20 years as a producer and director, making arts and history programmes, including dozens of documentaries, for the BBC and Channel 4, as well as international broadcasters. More recently he was a Senior Lecturer in Film and Television at Middlesex University until 2024. His books include Hollywood Independent: How the Mirisch Company Changed Cinema (2023); The Hollywood Film Industry; and MTM: Quality Television and two co-authored dossiers, Multiplatforming Public Service Broadcasting and Drama Documentary. He has published articles in journals including Screen, Transnational Cinemas, The Historical Journal of Film, Radio and Television and Critical Studies in Television as well as The Guardian, The Sunday Times, The Observer, Broadcast, NME and The New Statesman.

The 1960s saw the emergence of multiple “new waves” of international filmmakers and cinema movements. It wasn’t only the French directors of the “nouvelle vague” – Godard, Truffaut et al - but filmmakers from Britain (Lindsay Anderson), Italy (Pasolini), Africa (Sembène), America (Cassavetes), Poland, India, and Japan, all of whom seized on cheaper, lighter equipment to make vital and vibrant films, and whose subjects were compelling as well as contemporary.

Since the inception of film, the medium has been borrowing from literature, transforming novels, plays and poems into audio-visual experiences with varying degrees of success. Through a range of classic films, we will examine the techniques and practices available to filmmakers in the adaptation process, as well as the challenges of translating a story or concept from one form to another.

What does film studies involve? Learn how to enjoy, discuss and criticise films while being part of a real-time working example of a City Lit film studies class. We will view clips from a wide variety of films, exploring themes and technique in current City Lit courses 25/26.

In his literary essay On Fairy Stories, J.R.R. Tolkien famously wrote that “in human art, fantasy is a thing best left to words”. Despite this claim, The Lord of the Rings is arguably one of the most profitable media franchises of the 21st century. It has inspired academy-award winning films and record-breaking TV series, and continues to generate material that resonates with new generations of fans to explore. This course will explore the history of adapting Tolkien to the cinema, considering not only what was altered or left behind in attempts to turn Tolkien’s vast mythology into the stuff of popular cinema, but what might also have been enhanced as a result.

Since cinema's earliest days, literature has provided movies with stories. But there is another way of looking at film: through its relationship with painting, the oldest of the art forms.



We’ll look at paintings by Friedrich, Titian, Hopper, Bacon, Delaroche and many more. We’ll view Red Desert, Pan’s Labyrinth, Easy Rider – looking at realism, surrealism and more.



As you can see, all of these are quite different! Let’s see how movies connect us to art history.

Defining itself around themes such as realism, class and national identity, and differentiating itself from Hollywood and other national cinemas, British cinema has found critical and popular acclaim both domestically and internationally. This course explores key themes and developments in British cinema, past and present, through a range of films, filmmakers and critical concepts and responses.

Hitchcock's most successful film, and, arguably, the horror thriller, Psycho (1960) has enthralled audiences and critics ever since its release sixty-five years ago. Through an in-depth, scene by scene analysis of the film, we will explore its structure, one designed to challenge both audiences and the conventions of narrative filmmaking, its critical and cultural impact, and its enduring appeal.

This course will take you on a journey through the development of British Cinema from its earliest films through to some of its most recent. We will explore some of the most significant periods of British filmmaking creativity and commercial enterprise and consider some of the famous names associated with it. Join me in City Lit’s Cultureplex as I tell – through image and sound – the whole story of British Cinema.