Undergraduate Film And Visual Culture 2023-2024

What is Visual Culture? Over the last twenty years, the visual landscape has become digital, virtual, viral, and global. A vibrant cross-section of scholars and practitioners from Art History, Critical Theory, Cultural Studies, Anthropology, and Film Studies have responded, not only engaging contemporary image production and consumption, but also the foundations of visual knowledge: What is an image? What is vision? How and why do we look, gaze, and spectate? From the nomadic pathways of the digital archive to the embodied look that looks back, this course will introduce students to the key concepts that shape this fluid field.

This course offers an introduction to the language and practice of formal film analysis. Each week we will explore a different element of film form and analyze the ways in which it shapes the moving image. This course invites students to think about formal elements within and across a wide range of genres, styles, historical moments, and national contexts. By the end of this course, the successful FS1508 student will be able to recognize and communicate the ways in which meaning is made in cinema.

The first half of a film history sequence at the second year level, Visualising Modernity focuses on crucial moments, concepts and cinematic works from the period 1895 to 1945. Students will be marked according to a mid-term essay, a final exam, short assignments on Blackboard, and attendance in lectures and tutorials.

The second half of a film history sequence at the second year level, Cinema & Revolution focuses on crucial moments, concepts and cinematic works from the period between 1945 and the present. Students will be marked according to a mid-term essay, a final exam, short assignments on Blackboard, and participation and attendance in lectures and tutorials. 

For much of the twentieth century, the cinema has provided mass audiences with a powerful and accessible source of images and ideas about many aspects of science, medicine and healthcare, including the notion of scientific evidence and objectivity, laboratory experimentation, science and human rights, the relationship between doctor and patient, the public image of scientists, the encounter between human and non-human animals. This course seeks to understand the complex relations between cinema and science, by critically examining a diverse body of works coming from different filmic traditions, genres and periods, challenging the cliché of the mad scientist often represented in mainstream Hollywood cinema.

Leatherface, Freddy and Michael Myers might be pop cultural icons, but what do such figures represent and how did they come to prominence? Providing a scholarly analysis of horror cinema, from early silent classics to today’s “post-horror”, so-called “paracinema” and beyond, this course will give students insight into the evolution of society’s many screen nightmares. From landmark works to cult favourites, from Murnau to Argento, this is a course that will give an insightful look at some of the major trends, and theories, related to a genre that remains one of celluloid’s most provocative, and frequently controversial, forms.

In the popular imagination, Spain invokes a number of alluring stereotypes: sun, sand, passion, and flamenco. In this course, students will be encouraged to look beyond these dominant stereotypes. Co-taught by lecturers in music, FVC and Spanish, students will explore how music, film and visual culture can reveal deep-seated tensions regarding national identity, politics and cultural representations of Spain throughout the 20^th and 21^st centuries.

Petroleum is everywhere and yet seemingly invisible. This course offers students in Europe’s ‘energy capital’ (until recently its ‘oil and gas capital’) a space to critically explore how artists and filmmakers have visualised this elusive substance.

The module offers a comprehensive look at how documentary has interrogated, and in some rare cases even influenced, politics, social values, and even popular culture. Students will be expected to look at how documentary filmmakers have built upon the famous Griersonian quote – ‘the creative treatment of actuality’ – to evolve the form’s style and scope as well as to challenge the very notion of filmic truth and reality. Attendees to the module will also learn how to identify the key documentary modes and be expected to analyse and understand how the movement’s use of transgressive visual images, no matter how apparently ‘genuine’, is frequently presented through a cinematic perspective that is not always objective. Furthermore, the module will require students to produce a short documentary or individual video essay (in documentary form) and, in doing so, explore the challenges of objective presentations.

Through the effects of technological progress, industrialisation, deforestation, mining, our dependence on fossil fuels and plastics, and the testing of nuclear weapons, humans have become geological agents – radically transforming the Earth System in ways that will leave a trace for millions of years to come. This realisation has come to be known as the ‘Anthropocene’ – the time of humans. The implications – materially, emotionally and intellectually – are vast and complex. How do writers and artists respond to this complexity? What role can literature, film and visual art play in our understanding of it? This course addresses these and other questions. By studying select works of literature, film and visual art from the last sixty years alongside critical, theoretical and scientific writing on the Anthropocene, can we identify those images that might be thought adequate to our predicament?

Students will have the opportunity to write a dissertation on a topic of their choosing within Film and Visual Culture.

For much of the twentieth century, the cinema has provided mass audiences with a powerful and accessible source of images and ideas about many aspects of science, medicine and healthcare, including the notion of scientific evidence and objectivity, laboratory experimentation, science and human rights, the relationship between doctor and patient, the public image of scientists, the encounter between human and non-human animals. This course seeks to understand the complex relations between cinema and science, by critically examining a diverse body of works coming from different filmic traditions, genres and periods, challenging the cliché of the mad scientist often represented in mainstream Hollywood cinema.

Due to the adult material viewed and studied on this option, students should anticipate content that might cause offence, including graphic depictions of terror and violence (please note that this includes sexual violence as with the pivotal work of Wes Craven, essential to any module on horror). While weekly content warnings will be provided, students who might find this material offensive may wish to consider another module option.

Providing a scholarly analysis of horror cinema, from Germany's early silent classics to postmodern shockers such as American Psycho (Mary Harron, 2000), so-called “paracinema” and beyond, this course will give students insight into the evolution of society’s many screen nightmares. From landmark works to cult favourites, from Murnau to Argento, from Spain to South Africa, this is a course that will give an insightful look at some of the major trends, and theories, related to a genre that remains one of celluloid’s most provocative, and frequently controversial, forms.

In the popular imagination, Spain invokes a number of alluring stereotypes: sun, sand, passion, and flamenco. In this course, students will be encouraged to look beyond these dominant stereotypes. Co-taught by lecturers in music, FVC and Spanish, students will explore how music, film and visual culture can reveal deep-seated tensions regarding national identity, politics and cultural representations of Spain throughout the 20^th and 21^st centuries.

Students will have the opportunity to write a dissertation on a topic of their choosing within Film and Visual Culture.

Petroleum is everywhere and yet seemingly invisible. This course offers students in Europe’s ‘energy capital’ (until recently its ‘oil and gas capital’) a space to critically explore how artists and filmmakers have visualised this elusive substance.

The module offers a comprehensive look at how documentary has interrogated, and in some rare cases even influenced, politics, social values, and even popular culture. Students will be expected to look at how documentary filmmakers have built upon the famous Griersonian quote – ‘the creative treatment of actuality’ – to evolve the form’s style and scope as well as to challenge the very notion of filmic truth and reality. Attendees to the module will also learn how to identify the key documentary modes and be expected to analyse and understand how the movement’s use of transgressive visual images, no matter how apparently ‘genuine’, is frequently presented through a cinematic perspective that is not always objective. Furthermore, the module will require students to produce a short documentary or individual video essay (in documentary form) and, in doing so, explore the challenges of objective presentations.

Through the effects of technological progress, industrialisation, deforestation, mining, our dependence on fossil fuels and plastics, and the testing of nuclear weapons, humans have become geological agents – radically transforming the Earth System in ways that will leave a trace for millions of years to come. This realisation has come to be known as the ‘Anthropocene’ – the time of humans. The implications – materially, emotionally and intellectually – are vast and complex. How do writers and artists respond to this complexity? What role can literature, film and visual art play in our understanding of it? This course addresses these and other questions. By studying select works of literature, film and visual art from the last sixty years alongside critical, theoretical and scientific writing on the Anthropocene, can we identify those images that might be thought adequate to our predicament?