Time: 19:45 - 21:30
Location: Keeley Street
This course has now finished
- Course Code: HF349
- Dates: 10/01/24 - 14/02/24
- Time: 19:45 - 21:30
- Taught: Wed, Evening
- Duration: 6 sessions (over 6 weeks)
- Location: Keeley Street
- Tutor: Jean-Baptiste de Vaulx
Course Code: HF349
Duration: 6 sessions (over 6 weeks)
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What is the course about?
This course aims to teach students to look at the history of world cinema through a post-colonial lens, highlighting geographical areas and eras of films and filmmakers which have often been overlooked and neglected. We will see how colonial history, and the colonial gaze of filmmaking, was challenged by filmmakers around the world in the last 60 or so years, filmmakers who reappropriated the cinematic tools for their own more politicised purposes. The course is therefore an excellent introduction to the potential of filmmaking as a social force for protest and change, showcasing a wide range of vital films representing and expressing complex social, political, and personal issues which remain relevant to this day.
More specifically, the course will analyse films, filmmakers, and movements from different geographical areas of the Global South, covering post-colonial films made in Latin America, Sub-Saharan Africa, North Africa and the Middle East, South and East Asia, as well as diasporic and intersectional filmmaking from Europe and North America as well. We will also introduce theoretical concepts from which to further discuss and analyse key debates around post-colonial filmmaking.
What will we cover?
• The historical, political and theoretical background context to post-colonialism, in which filmmakers around the world sought to employ filmmaking as a tool of anti-colonialist expression
• The specific impact and legacy of films such as The Battle of Algiers around the world
• The Third Cinema movement, specific films within it, and the influence of its manifestoes and ideas
• The styles and themes of post-colonial African filmmakers like Ousmane Sembene, Djibril Diop Mambety, and Med Hondo
• Examples of post-colonial and anti-colonial filmmaking in the Middle East, South Asia, and East Asia
• Examples of diasporic and intersectional filmmaking
• Theoretical frameworks such as Frantz Fanon’s writings, Edward Said’s Orientalism, and concepts like diaspora, intersectionality, critical race theory, to further our understanding of the films and their context.
What will I achieve?
By the end of this course you should be able to...
• Demonstrate an awareness of the socio-historical and political context of colonialism and post-colonialism
• Demonstrate an awareness of the various ways in which cinema was used as a means to reflect and challenge these contexts
• Demonstrate an understanding of some significant film movements in post-colonial film history in Latin America, Africa, and Asia, as well as some theoretical frameworks from which to study them.
What level is the course and do I need any particular skills?
The course is suitable for all levels and you do not require any particular skills - just an interest in film and history. The course will provide an introduction to the subject but will also be useful for those wishing to build on existing knowledge in the subject area.
How will I be taught, and will there be any work outside the class?
Short clips from the films will be provided, as well as reading materials. The class will be structured around a combination of PowerPoint presentations, film clips and class discussions.
Are there any other costs? Is there anything I need to bring?
The tutor will show extracts from films and you do not have to obtain them.
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.
Dr Jean-Baptiste de Vaulx has taught at Royal Holloway, University of London, and currently is an associate lecturer at University College London. His fields of teaching and research focus on world cinema, international film history, film festivals and cinephile film cultures. He has published articles and book chapters on varied topics including child characters in Iranian cinema, the theme of home in the films of Lucrecia Martel, the Japanese new wave director Hiroshi Teshigahara, and the history of world cinema programming on Channel Four.
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.