Film Criticism, Film Style (Optional Module)
Module Tutor: Ed Gallafent
MODULE OUTLINE
The focus of this module is the close observation of particular films. Its aim is to improve the
accuracy and penetration of your observations of textual detail and film style, to refine your
ability to engage with detailed film criticism, and to enable you to test the insights of criticism
against the textual detail of the films under discussion. Much of our work will focus on the
practice of detailed film reading and will involve quite lengthy examinations of a small number
of films. The module will also give you an opportunity to view work by a range of directors
who may not be familiar from your undergraduate work.
The module will involve lectures, presentations by students, a short non-assessed essay
involving the analysis of a single film shot and a 5,000 word assessed essay, the title developed
in consultation with the module tutor, due at the end of the module.
I think of this module as being equally available to those who have little experience of textual
analysis, and those who wish to practice and deepen their skills. Compare it to learning to play
the piano; you can be a beginner, a competent player, play well or play superlatively well.
The films will be studied over two weeks to give you time to examine them in detail and prepare
analyses of particular images and sequences for seminar discussions. The films studied will be
Suspicion (Alfred Hitchcock, 1941)
The Silence (Ingmar Bergman, 1963)
Charulata (Satyajit Ray, 1964)
The Silence of Lorna (Jean-Pierre and Luc Dardenne, 2008)
Barbara (Christian Petzold, 2012)
Plus two films nominated by the group for discussion and study in the later part of the
module (as per the timetable below).
Timetable:
Intro and workshop one: Week One
Week Two Thursday
10-12 Workshop two
1-3 Suspicion first screening
3-4 lecture and discussion, choosing of extracts
Week Three Thursday
10 – 12 Suspicion second screening
12 – 1 Presentations on extracts
2-4 The Silence first screening
4-5 lecture/discussion, choosing of extracts
Week Four Thursday
10-12 The Silence second screening
12 – 1 presentations on extracts
2-4 Charulata first screening
4-5 lecture/discussion, choosing of extracts
Week Five Thursday
10-12 Charulata second screening
12- 1 presentations on extracts
2-4 The Silence of Lorna first screening
4- 5 lecture/discussion, choosing of extracts
Week Six : Reading and Viewing week.
Week Seven Thursday
10-12 The Silence of Lorna second screening
12-1 presentations on extracts
2-4 Barbara first screening
4-5 lecture/discussion , choosing of extracts.
Week Eight Thursday
10-12 Barbara second screening
12-1 presentations on extracts
2-4 Student choice film [1] first screening
4-5 discussion and choosing of extracts
Week Nine Thursday
10-12 Student choice film [1] second screening
12- 1 presentations on extracts
2-4 Student choice film [2] first Screening
4-5 discussion and choosing of extracts
Week Ten Thursday
10-12 Student choice film [2] second screening
12-1 presentations on extracts
2-4 Final workshop: conclusion and module evaluation.
The assessed essay:
The essay is 5,000 words and will be due on the date given in your handbooks. The focus of
your work should be critical rather than theoretical; it should be directed to characterization
and/or interpretation and /or evaluation. It can be on one of the works studied on the module,
but, subject to negotiation with EG, it can be on another narrative feature film. It should have
at least two passages of detailed textual work, and it should make use of four or more frame
still or frame sketches to explicate your arguments about composition or images. (We will have
discussed and practised this in the classes.) If there is published criticism and scholarship of
substance on the film of your choice, your essay should include an evaluation of it. I will expect
to be consulted on the development of your projects and tutorial appointments can be made in
my feedback and advice hours, or at other times if necessary.
Background Reading
Stanley Cavell The World Viewed ((1971, rev. 1979)
Stanley Cavell Cities of Words (2004)
John Gibbs and Douglas Pye Style and Meaning (2005)
Andrew Klevan and Alex Clayton (eds.), The Language and Style of Film
Criticism (Routledge, 2011)
Gilberto Perez The Material Ghost (1998)
V.F. Perkins Film as Film (1972, reprints 1991, 1993)
George M. Wilson Narration in Light (1986)
Robin Wood Personal Views : Explorations in Film (1976)