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for a past academic year. Please see the current academic year for up to date information.
| Unit name |
Global Cinemas / Local Stories |
| Unit code |
DRAM33131 |
| Credit points |
20 |
| Level of study |
H/6
|
| Teaching block(s) |
Teaching Block 1 (weeks 1 - 12)
|
| Unit director |
Dr. Maingard |
| Open unit status |
Not open |
| Pre-requisites |
PERFORMANCE FORMS AND ANALYSIS FILM AND TELEVISION FORMS AND ANALYSIS PRODUCTION SKILLS FOR PERFORMANCE PRODUCTION SKILLS FOR SCREEN
|
| Co-requisites |
PERFORMANCE HISTORIES FILM AND TELEVISION HISTORIES
|
| School/department |
Department of Film and Television |
| Faculty |
Faculty of Arts |
Description including Unit Aims
In this unit we will consider examples of global cinemas that might include Africa, Europe, India, South America, and the US, in the context of globalisation. We will examine relevant theories of globalisation alongside definitions of Third and Fourth cinemas, national/transnational cinemas, colonial/postcolonial cinemas, as they apply to the films screened. Skills already developed in textual analysis will be advanced by analysing the textual elements of selected films in relation to (as appropriate) their social and cultural contexts; production, distribution and reception contexts; genre and authorship; narratives, styles and aesthetics.
We will develop responses to the issues and questions raised through making and exhibiting short films. We will think practically about how to (re)present ourselves and others on the big or small screen in a globalised world, using various possible approaches that might include autobiography, found objects, archival material, family photographs and constructions of new material.
Aims
- To examine examples of global cinemas from various parts of the world in the context of globalisation;
- To examine relevant theoretical perspectives on globalisation;
- To consider definitions of ‘global cinema’ in the context of relevant film theory, including ‘Third’ and ‘Fourth’ Cinemas, national/transnational cinemas, colonial/postcolonial cinemas;
- To advance skills in the textual analysis of films in their contexts;
- To create and exhibit short films in response to the issues raised in the study of global cinemas and globalisation;
- To advance skills in short filmmaking and in short film exhibition, including installation.
- To investigate in a chosen practical and creative manner one or more alternative languages of cinematic expression.
- To develop highly competent self-reflective analytical methods.
- To develop higher-level group-work project skills.
- To be able to reflect on individual work within a collaborative production context.
Intended Learning Outcomes
- Increased knowledge and understanding of global cinemas and their contexts;
- Ability to situate global cinemas in an appropriate theoretical framework drawn from relevant globalisation theories and film theories on ‘Third’ and ‘Fourth’ Cinemas, national /transnational cinemas, colonial/postcolonial cinemas;
- Advanced skills in analysing films in their contexts;
- Ability to create short films and advanced skills in one or more aspects of short filmmaking (for example, camera, editing) and bility to consider and make appropriate choices for short film exhibition, including installation as a possible alternative to big screen options;
- Understanding of working democratically in a small group practice-based process and enhanced ability to do so;
- To demonstrate knowledge of, and use creatively, a wider range of secondary literature than at Level I
- To apply with consistent competence a range of established critical and theoretical ideas
- To present a clear and well-structured argument, supported by relevant critical and theoretical literature, that additionally develops independent lines of inquiry
- To present work that is highly assured in its use of English and referencing
- To be able to communicate verbally key ideas based on secondary reading and relevant primary texts and independent research/lines of enquiry
- To demonstrate advanced skills of time management
- To plan and execute a research project
Plus as appropriate to the mode of teaching, that is, the combination of seminar and practice-based workshop and/or presentations:
- To be able to write a highly reflective account of practical work, making connections with an appropriate range of critical ideas
- To be able to work effectively, constructively and creatively in a group-based workshop
- To be able to work within the disciplines of production and project processes, working to deadlines and within production budgets
- To work independently and reach individual/personal judgements within a collaborative context
- To be able to reflect on individual work within a collaborative production context and with reference to an appropriate range of critical ideas
Teaching Information
Seminars, workshops, screenings, as appropriate
Optional units may be taught according one of three models, depending on student numbers choosing the option and resource matters. Unit convenors will decide on teaching mode in consultation with HoE and with students in advance of advertising option year-on-year. Contact hours and assessment details will be mapped to teaching mode, as detailed below.
Model A is a seminar-based unit
Model B combines seminars with workshops encompassing an average 30-hour production period
Model C is taught through workshops encompassing an intensive 60-hour production period
Assessment Information
Teachers will assign assessments according to the teaching mode employed.
Model A:
4,000-word essay (50%) + student presentation (25%) + 2,000-word write-up (25%), or equivalent.
OR
Model B:
Essay [3,000 words] (33%) +
Workfile (22%): containing evidence to demonstrate student contribution to workshops / practical exercises; contribution to seminars Presentation/performance (22%) Critical analysis [1,500 words] (22%)
OR
Model C:
Workfile (33%): containing evidence to demonstrate student contribution to workshops / practical exercises; contribution to seminars, preparation & execution of technical production role Presentation/performance (33%) Critical analysis [2,500 words] (33%)
Reading and References
- El-Ojeili, C. and Hayden, P. (2006) Critical Theories of Globalization, New York: Palgrave MacMillan.
- Ezra, E. (2005) Transnational Cinema: The Film Reader, London: Routledge.
- Grant, C. and Kuhn, A. (2006) Screening World Cinema, London & New York: Routledge.
- Guneratne, A. and Dissanayake, W. (2003) Rethinking Third Cinema, New York & London: Routledge.
- Shohat, E. and Stam, R. (1994) Unthinking Eurocentrism, London & New York: Routledge.
- Steger, M. (2003) Globalization: A Very Short Introduction, Oxford: Oxford University Press.
