Film Studies Courses
Study online & in London

Lindsay Anderson is widely recognised as one of the few authentic geniuses of British cinema, a visionary film director unafraid to challenge convention, who left an indelible mark on British cinema (e.g. on Ken Loach and Mike Leigh). He was a true maverick in every sense of the word. His uncompromising artistic vision challenged storytelling to provoke thought and change. He tackled social issues and explored the human condition through his unique directorial style. His key feature films are This Sporting Life (1963), If…(1968), O Lucky Man! (1973) and his final film in 1993, Is That All There Is?



This course is running as part of City Lit's regular collaborations with the British Film Institute (BFI), who are screening a programme of films by Lindsay Anderson during May 2024. Please note that this course is taking place in the Cultureplex at City Lit, Keeley Street.

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?’.

Come and join us for a taste of what happens at the Cultureplex Ciné-Club. For one day only, and during a compressed hour and a half, we will watch and discuss a short film replicating the structure of the upcoming Cine-Club course, where we watch and discuss full-length feature films. The Cultureplex Ciné-Club course takes its cue from the famous Parisian Ciné-club set up by the celebrated critic and writer, André Bazin, however, this incarnation of the film club will offer an opportunity not only to have a taste of what the full Cine-Club course (running throughout next year) has to offer, but it will also allow for the viewing of a short film, followed by detailed discussion and debate. The film will be introduced, placed in both its cinematic, cultural and historic context as well as being situated within the director’s body of work. 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.

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).

Come and join us at the Cultureplex Ciné-Club, where once a week, for 10 weeks, we will watch and discuss film. 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.

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.