Film Studies Courses
Study online & in London

Hammer's vivid, full-bloodied horror films were met with popular acclaim and critical disapproval but are now recognised as constituting a major area in British popular cinema. Explore the films, their popular and critical reception, Hammer's distinctive approach to style, and the way in which the films offer an alternative to other, more restrained and respectable modes of British cinema.



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

Robert Altman served a long apprenticeship in movie-making before his great breakthrough , the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d'Or at Cannes, but also established Altman's inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman's decade, with a string of masterpieces: McCabe and Mrs Miller (1971 revisionist western), The Long Goodbye (1973 revisionist Raymond Chandler), Thieves Like Us (1974 remake of Nicholas Ray’s 1948 They Live By Night), Nashville (1976 completely and absolutely original widescreen mural of America and Hollywood). In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player, an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park, (2001), underscored his comeback. (See separate but related courses on Once Upon a Time in New Hollywood, Francis Ford Coppola, David Lynch and the Coen brothers).

This course will provide a brief introduction to the history of film spectatorship, tracing its origins in the silent era up to the present day. The course will explore a number of films in detail, includingThe Truman Show (Peter Weir 1998 US), Cinema Paradiso (Giuseppe Tornatore 1998 Italy), The Matrix (Wachowskis 1999 US) and others.

Marilyn Monroe was one of the most popular stars of the 1950s and continues to be a well-known star in the 21st century. This course will examine her success and legacy by analysing a variety of sources, such as film, magazines and advertisements to assess why she is so important to our understanding of the fifties.



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

During the 1960s British cinema re-established itself as a leading producer of films, including realist, contemporary dramas such as Saturday Night and Sunday Morning (1960), and action and adventure fantasies with the popular James Bond films. This course explores these developments through a number of lines of approach and the way in which they contributed to a revitalised British cinema.



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

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?’.

Hitchcock was first recognised as a gifted filmmaker in the 1920s but the films he made between 1934 and 1938, the six 'chase thrillers', established his reputation and associated him with a particular type of film, one marked by a varying mix of suspense, comedy and romance. This course explores the two most celebrated of these, looking at their production, structure and critical reception.



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

The 1950s was the beginning of the end for the Hollywood studio era, a golden age in place since the 1920s. The fifties are more difficult to pin down than the 1930/40s due to explosive diversity in both subject matter and cinematic technology, the profound influence of WWII, the development of European neorealism and the first signs of the French New Wave. An emphasis on teen culture emerged, represented by the brief career of James Dean. Film stars became anti-heroes. The moguls who founded Hollywood began to disappear. The studio business model was doomed. Hollywood reacted both defensively and creatively, going for broke—and producing some of the finest and most enduring films in its history, films that transformed the culture, from Sunset Blvd. (1950) to Some Like It Hot (1959)—both by Billy Wilder. From The Asphalt Jungle (1950) to The Misfits (1961)— Marilyn Monroe’s first and final films, both directed by John Huston. From Here To Eternity (1953 Fred Zinnemann) to A Place in the Sun (1951 George Stevens, part of his American trilogy). Fifties’ films reflected a darkening America. (See related courses on Fifties Musicals, Melodrama and Film Noir).

During the 1940s Hitchcock found himself working with a range of Hollywood studios and producers on projects suited to his particular storytelling interests, with perhaps the two most successful and striking of these being the focus of this course. We will explore their production, structure and critical reception, while also noting significant differences between the two in terms of their tone.



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

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).

Explore and enjoy the ghost story through big screen classics such as The Uninvited (1944), The Innocents (1961) and The Haunting (1963), and small screen dramas such as The Stone Tape (1972) and the BBC's Ghost Story for Christmas tradition - for example, The Signalman (1976). We will also consider the genre's key themes and storytelling styles along with its relationship with horror generally.



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

What is anime? What are the artistic and narrative features that make these films so instantly recognizable? This one-day film course will provide an overview of the history of Japanese animation cinema, its inextricable links with manga and its multi-faceted and varied productions that range from children’s films to genres such as cyberpunk and yaoi. During the course, we will watch and discuss clips from a variety of production companies and directors, such as Haya Miyazaki, the Studio Ghibli and Katsuhiro Otomo.

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).