Film studies

“The more beautiful everything is, the more it will hurt without you”—Gene Kelly as An American in Paris (1951) singing to Leslie Caron. Happy endings are hard won in fifties’ musicals and The End is where they were heading. MGM was the studio of musicals in the 1950s. During this decade other studios presented only occasional musicals. The musical was big business for Hollywood in the 1950s and so was the western, so bringing them together made sense. Annie Get Your Gun had been a big success for MGM so Warner Bros. decided to get a piece of the action with Calamity Jane (1953 David Butler with Doris Day). Judy Garland was sacked by MGM in 1951, then followed Joan Crawford to Warner Brothers where she staged a big comeback in, fittingly, A Star is Born (1954 George Cukor). Oklahoma (1955 Fred Zinnemann) and Carousel (1956 Henry King) from 20th Century Fox introduced Shirley Jones. And don’t forget Leonard Bernstein’s score for On the Waterfront (1954) that anticipated West Side Story (1961). (See related courses on Fifties Melodrama and Film Noir and 50 Films From the ‘50s: Hollywood’s Last Stand).

Film Noir was the term coined by French critics to describe a distinctive style in American cinema during the decade after the war. In the transitional 1950s, genres that had been Hollywood staples began to change, evolve, or fade away. Film Noir evolved because it was too vital, too useful, and just too enjoyable to fade away. Just as John Huston’s Maltese Falcon (1941) kick-started film noir in the forties, his Asphalt Jungle (1950) introduced a darker fifties’ noir. Or did noir begin and end with Orson Welles’ Citizen Kane (1941) and Touch of Evil (1958)? ((See related courses on Fifties Melodrama and Musicals and 50 Films From the ‘50s: Hollywood’s Last Stand).

F. W. Murnau’s Nosferatu: A Symphony of Horror (1922) is acknowledged as one of the all-time greats of cinema, expressing as one critic describes it, the ‘poetry of fear’ and as one of the first feature length vampire films it’s influence, and legacy has been widely felt. Chris McKay’s Renfield (2023), comes just over one hundred years after Nosferatu and marks one of the most recent instalments in a genre that continues to renew itself for each generation of film viewers. Exploring a range of key vampire films from across this century of cinema, this course will explore why the vampire film remains such a popular sub-genre of the horror film and it will consider why it continues to exercise such power over its spectators.

This course will develop your critical appreciation of the cinema by teaching you how to read and understand film texts. We will look at the elements that underpin film form – narrative, mise en scène, cinematography, editing and sound – alongside its historical development. We will consider film style by exploring classical, post-classical and art cinema and we will examine influential critical modes of analysis, such as genre, authorship and spectatorship.

Learn how to evaluate and discuss films while enjoying a working example of a City Lit Film Studies class. In this class we will view and explore clips from a number of films, including popular remakes, enabling us to consider and compare themes and techniques from differing filmmaking countries. There will be a chance to review – in brief – film courses at City Lit (January - March 2025).

Carefully-curated Christmas cornucopia overflows with seasonal films, from new entry The Holdovers (2023 Alexander Payne) to Home Alone (1990 Chris Columbus/John Hughes). This is a celebration of the genre of the Christmas film packed with clips and hidden gems: Scrooge (1951 Brian Desmond Hurst) remixed as a film noir, Lindsay Anderson’s Every Day Except Christmas (1957), his film about the old Covent Garden market later seen in My Fair Lady (1964) or Hitchcock’s Frenzy (1972) just before it closed down. Full of delights, discussions and a grown man dressed as an Elf (2003).

Experimental film is often non-narrative and avant-garde. It is made to explore the boundaries of film and push the limits of what is considered so-called normal filmmaking. Experimental films often use unconventional techniques such as animation, found footage and non-linear narrative structures to create unique visual experiences. The class will look at early experimental films by Georges Méliès, Laszlo Moholy-Nagy and Maya Deren, alongside recent digital works.

This comprehensive introductory course provides an overview of the main historical, technical and theoretical aspects of filmmaking and film analysis.

Westerns reinvented themselves in the 1950s, reaching their absolute high point both in the cinema and on television. You couldn’t move for westerns in the fifties. War films and comedies were increasingly anaemic but Westerns had an artistic renaissance as many now-canonic films were released: from Red River (1948 Howard Hawks) to Rio Grande (1950 John Ford) to Rio Bravo (1959 Howard Hawks). Westerns continued to flourish throughout the 50s both in cinemas and then at scale on television: The Lone Ranger, Roy Rogers, Gene Autry, Cheyenne, Wagon Train, Bonanza, and Gunsmoke, the first ‘adult western’.

John Grierson has a lot to answer for. Not only did he popularise that most dreary and off-putting term ‘documentary’ in the 1930s, he only approved those that were utilitarian, pedagogic or impersonal. But in the 1950s a new generation of filmmakers rejected these restrictive forms and a Free Cinema was born: an interest in the poetry of the everyday and a talent for finding art hiding in plain sight in unsung and unprepossessing neighbourhoods. Documentary to provoke change. No film can be too personal. An urgent cultural revolution was suddenly exploding everywhere. New York’s ‘off Broadway’ film movement, influenced by Italian neorealism, shot Little Fugitive (1953 Morris Engel/Ruth Orkin) on location on Coney Island. It was nominated for an Oscar. This landmark film led to John Cassavetes’ independent style and was an acknowledged influence on the French New Wave, Direct Cinema (U.S.) and Cinema Verite (France). As if on cue, Agnes Varda filmed La Pointe Courte (1955) on location in Sete, inventing and kick-starting the New Wave of Godard and Truffaut and her own Cleo from 5 to 7 (1962). However, the biggest stirring of a new kind of documentary impulse was the Free Cinema in Britain, where Lindsay Anderson scorned the Griersonian style as didactic and dull and led the way to the British New Wave’s ‘kitchen sink’ films that were about our lives.

You've probably seen hundreds/thousands of films, but still wonder: how did they do that? Technique! Learn the secrets of filmmaking. Techniques such as shot composition, editing and camera movement can work together to tell a story in your own unique way. A film is made four times over: First the screenplay, which may be original or adapted. Secondly, the actual production, the direction and shooting of the film. Third, the editing. Fourth the music score. It all starts with the story, but how to tell it? Technique! What are film techniques and their effects? The camera never lies, but editing can—and the lighting hides or reveals. Are films magic or magic tricks? If I cut to a close up, I’m making a statement but did you notice the music cues? What’s the score?

Surprisingly, not every film that features the occult is a horror film. Certainly, many of them are; we will consider classics such as Haxan from 1922, Rosemary’s Baby, The Craft, Angel Heart, The Witch and Hereditary. Other films, such as Kenneth Anger's Lucifer Rising and A Dark Song, attempt to treat the occult seriously as secret or hidden knowledge. We'll examine the cultural backdrop of occult films and questions of representation, gender relations, and spirituality.