Realism dominates our screens – from soaps (East Enders) to prestige television (The Wire) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters?
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This online film studies course looks at realism’s greatest practitioners, historical and contemporary - from Jean Renoir and Satyajit Ray to Joanna Hogg, Richard Linklater and Mia Hansen-Løve. It considers the work of Ken Loach and Mike Leigh whose respective careers have been the driving force behind British cinematic realism. But are realist filmmakers’ world-building as constructed as that of cinema’s greatest stylists? How do these directors achieve their affects? Through what means do they manipulate their audience? Is the acting in a Mike Leigh film different to that of the acting in a Ken Loach film, no matter their respective visions of England are recognizable to us? How does John Cassavetes’ version of realism differ to that of Barbara Loden? One thing is clear. What unites all of the filmmakers in this course, in spite of their aesthetic differences, is their commitment to the life-like and to the reality of the world.
What will we cover?
We will consider the work of the following directors: Jean Renoir, Roberto Rossellini, Satyajit Ray, Ken Loach, Barbara Loden, Mike Leigh, the Dardenne brothers, Andrea Arnold and Joanna Hogg. We will explore the hallmarks of cinematic realism: authenticity; location-shooting, camera work and performance style. And we will see how the above directors obey (or veer from) the basic tenets of drama.
What will I achieve? By the end of this course you should be able to...
Have an understanding and critical appreciation of realism as one of cinema’s most dominant forms.
Demonstrate a broad knowledge and understanding of some of cinema’s most distinctive “realists”.
Place the filmmakers within the context of film history and their respective national cinemas.
Identify the myriad connections and influences – aesthetic, thematic – in the films of all the directors featured.
Assess whether “realism” itself has become more real as cinema and acting has evolved.
What level is the course and do I need any particular skills?
The course is open to anyone with an interest in film history and for those who enjoy discussing films and listening to the views of others.
How will I be taught, and will there be any work outside the class?
Screenings of clips, talks by the tutor, followed by an interactive discussion. There will be weekly handouts for further reading / research and further recommended viewing.
Are there any other costs? Is there anything I need to bring?
There are no other costs. Bring a pen and paper. Links to clips of films will be obtained by the tutor.
When I've finished, what course can I do next?
Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.
Mick McAloon has 18 years’ experience in cinema exhibition – running cinemas, programming events and film series. His writing has appeared in numerous publications including the books Movie Star Chronicles and 1001 Movies. Previously he was a Visiting Lecturer at Kingston University on the Media & Communications degree.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/masters-of-cinema-the-realists2745128Masters of Cinema: The Realistshttps://www.citylit.ac.uk/media/catalog/category/50-films-HF004-1024.jpg179179GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Film studies/Introductory & general/Courses/Culture, history & humanities/Film studies/Courses/Online courses228511771548158017311228511771580<p>Realism dominates our screens – from soaps (<em>East Enders</em>) to prestige television (<em>The Wire</em>) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters? </p>002745062Masters of Cinema: The Realists179179https://www.citylit.ac.uk/media/catalog/category/50-films-HF004-1024.jpgInStockEveningThuOnlineAvailable courses5-10 weeksWeekday2026-05-21T00:00:00+00:00May 2026Culture, history & humanitiesHF384179179Masters of Cinema: The Realists179116179Mick McAloonmasters-of-cinema-the-realists/hf384-2526<p>Realism dominates our screens – from soaps (<em>East Enders</em>) to prestige television (<em>The Wire</em>) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters? </p>0000-Available|2026-05-21 00:00:00<p>This online film studies course looks at realism’s greatest practitioners, historical and contemporary - from Jean Renoir and Satyajit Ray to Joanna Hogg, Richard Linklater and Mia Hansen-Løve. It considers the work of Ken Loach and Mike Leigh whose respective careers have been the driving force behind British cinematic realism. But are realist filmmakers’ world-building as constructed as that of cinema’s greatest stylists? How do these directors achieve their affects? Through what means do they manipulate their audience? Is the acting in a Mike Leigh film different to that of the acting in a Ken Loach film, no matter their respective visions of England are recognizable to us? How does John Cassavetes’ version of realism differ to that of Barbara Loden? One thing is clear. What unites all of the filmmakers in this course, in spite of their aesthetic differences, is their commitment to the life-like and to the reality of the world.</p><p>Realism dominates our screens – from soaps (<em>East Enders</em>) to prestige television (<em>The Wire</em>) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters? </p><p>We will consider the work of the following directors: Jean Renoir, Roberto Rossellini, Satyajit Ray, Ken Loach, Barbara Loden, Mike Leigh, the Dardenne brothers, Andrea Arnold and Joanna Hogg. We will explore the hallmarks of cinematic realism: authenticity; location-shooting, camera work and performance style. And we will see how the above directors obey (or veer from) the basic tenets of drama. </p><ul><li>Have an understanding and critical appreciation of realism as one of cinema’s most dominant forms.</li><li>Demonstrate a broad knowledge and understanding of some of cinema’s most distinctive “realists”.</li><li>Place the filmmakers within the context of film history and their respective national cinemas.</li><li>Identify the myriad connections and influences – aesthetic, thematic – in the films of all the directors featured.</li><li>Assess whether “realism” itself has become more real as cinema and acting has evolved.</li></ul><p>The course is open to anyone with an interest in film history and for those who enjoy discussing films and listening to the views of others.</p><p>Screenings of clips, talks by the tutor, followed by an interactive discussion. There will be weekly handouts for further reading / research and further recommended viewing.</p><p>There are no other costs. Bring a pen and paper. Links to clips of films will be obtained by the tutor.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalvirtual179179116HF384NONEThu21/05/26 - 09/07/2618:00 - 19:3018:0019:308 sessions (over 8 weeks)85-10 weeksEveningWeekdayOnlineOnlineMick McAloonAvailable courses2026-05-21T00:00:00+00:00May 2026Culture, history & humanities179179Masters of Cinema: The Realistsmasters-of-cinema-the-realists/hf384-2526<p>Realism dominates our screens – from soaps (<em>East Enders</em>) to prestige television (<em>The Wire</em>) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters? </p>0000-Available|2026-05-21 00:00:00<p>This online film studies course looks at realism’s greatest practitioners, historical and contemporary - from Jean Renoir and Satyajit Ray to Joanna Hogg, Richard Linklater and Mia Hansen-Løve. It considers the work of Ken Loach and Mike Leigh whose respective careers have been the driving force behind British cinematic realism. But are realist filmmakers’ world-building as constructed as that of cinema’s greatest stylists? How do these directors achieve their affects? Through what means do they manipulate their audience? Is the acting in a Mike Leigh film different to that of the acting in a Ken Loach film, no matter their respective visions of England are recognizable to us? How does John Cassavetes’ version of realism differ to that of Barbara Loden? One thing is clear. What unites all of the filmmakers in this course, in spite of their aesthetic differences, is their commitment to the life-like and to the reality of the world.</p><p>Realism dominates our screens – from soaps (<em>East Enders</em>) to prestige television (<em>The Wire</em>) to the movies. But what is realism, exactly? Is it a genre, a stylistic choice, or an intrinsic way of looking at the world, humanistic and moral? And if realism is the dominant form in cinema, who are its masters? </p><p>We will consider the work of the following directors: Jean Renoir, Roberto Rossellini, Satyajit Ray, Ken Loach, Barbara Loden, Mike Leigh, the Dardenne brothers, Andrea Arnold and Joanna Hogg. We will explore the hallmarks of cinematic realism: authenticity; location-shooting, camera work and performance style. And we will see how the above directors obey (or veer from) the basic tenets of drama. </p><ul><li>Have an understanding and critical appreciation of realism as one of cinema’s most dominant forms.</li><li>Demonstrate a broad knowledge and understanding of some of cinema’s most distinctive “realists”.</li><li>Place the filmmakers within the context of film history and their respective national cinemas.</li><li>Identify the myriad connections and influences – aesthetic, thematic – in the films of all the directors featured.</li><li>Assess whether “realism” itself has become more real as cinema and acting has evolved.</li></ul><p>The course is open to anyone with an interest in film history and for those who enjoy discussing films and listening to the views of others.</p><p>Screenings of clips, talks by the tutor, followed by an interactive discussion. There will be weekly handouts for further reading / research and further recommended viewing.</p><p>There are no other costs. Bring a pen and paper. Links to clips of films will be obtained by the tutor.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalconfigurable
15481580Introductory & generalhttps://www.citylit.ac.uk/courses/humanities/film-studies/introductory-general1/2/285/1177/1580/15481/Courses/Culture, history & humanities/Film studies/Introductory & general
