Film Studies Courses
Study online & in London

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.

Nowadays there are so many ways to watch film - smart phones, tablets, TVs - just as there are so many different spaces in which we encounter the moving image - cinemas, galleries, our homes, to name but a few. This day-long course will broaden and deepen your critical awareness of the diverse formal and experiential possibilities of cinema, both as they have developed in the past and as they are transforming in the contemporary moment. It will do this by reflecting on two questions: ‘what is cinema?’ and ‘where is cinema?’.

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.

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.

Come and join us at the Cultureplex Ciné-Club, where once a week, for 10 weeks (and throughout the academic year), we will watch and discuss film. Taking its cue from the famous Parisian ciné-club set up by the celebrated critic and writer, André Bazin, ‘the single thinker most responsible for bestowing on cinema the prestige both of an artform and of an object of knowledge’, and the man who foresaw the emergence of film studies as a legitimate discipline of academic study, our contemporary incarnation of the film club will offer a curated series of films for detailed study, discussion and debate. Each film will be introduced, placed in both its cinematic, cultural and historic context. In sharing our viewing in City Lit’s premier screening room, the Cultureplex, we will approximate the experience of watching film in the cinema, one that is intense and fully focussed in a way that other modes of viewing often are not. After the screening we will devote the rest of the class to a collective exploration of the film, led by the tutor, but involving everyone in a participatory discussion that will allow all to express their responses, their views, their thoughts on the film screened.