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).

Historical drama is one of the most popular movie genres. But how accurate is it, and is that important? We will look at a sample of films and TV shows set in the Tudor era of Henry VIII and Elizabeth I, to explore how the depiction of the past is presented on screen. Who are the heroes and villains, and do these depictions affect our understanding of real-life history? We’ll examine Elizabeth, The Other Boleyn Girl, Anonymous, Mary, Queen of Scots, A Man for All Seasons, and more.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

Explore cinema's development from its earliest days to the arrival of sound, and view and discuss films such as A Trip to the Moon (1902), Sherlock Jr. (1924) and Sunrise (1927) and many others. We will also consider the contributions of key filmmakers, including the Lumière brothers, Georges Méliès, D W Griffith, Charlie Chaplin, Buster Keaton, Sergei Eisenstein, F W Murnau and Alfred Hitchcock.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

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.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

This is the decade when television really took off, when I Love Lucy premiered on a Monday night in October 1951, followed by Milton Berle as “Mr. Television” on Tuesdays. Everyone went out to buy a TV set. How could Hollywood compete with this free home entertainment? Biblical epics and Ben-Hur was one answer. On the Waterfront (1954) to Some Like It Hot (1959) was another. The fifties was the beginning of the end for the business model of the studio-era, a golden age in place since the 1920s. However,



Hollywood reacted by producing some of the finest and most enduring films in its history as it slowly began to find newer, younger audiences for James Dean in Rebel Without a Cause (1955). Coming-of-age indeed! So was television, as it produced some of its finest programmes. It seemed like every week a new show or a new genre: Sgt. Bilco, Playhouse 90, Edward R. Murrow, Walt Disney Presents, Route 66—and all in prime time.



(Also see related courses on 50s Westerns, Musicals and Film Noir).



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

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).

Film noir, a staple of classical Hollywood, is an established tradition in British and French cinema, drawing on elements within each of these production contexts to produce distinctive variants of an enduringly popular style. View and discuss films such as They Made Me a Fugitive (1947), Quai des orfèvres (1947) and many others, as we explore a redefined noir and its key films and filmmakers.



This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.

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.