Mani King Sharpe
Tutor information is taken from the Module Catalogue
- Key resources
- Weekly set readings
- Week 1: What is Film Studies?
- Week 2: Early Cinema
- Week 3: Soviet Montage
- Week 4: The Mobile Frame – Jean Renoir
- Week 5: Introduction to Sound – Fritz Lang’s M
- Week 6: Hollywood and the Transition to Sound
- Week 7: Reading Week
- Week 8: Sound Design in Contemporary Hollywood
- Week 9: Colour and mise-en-scene
- Week 10: Colour and narrative
- Week 11: Writing Essays
- General Bibliography (including further reading)
MODL1700 Introduction to Film Studies I
Bordwell, David and Kristin Thompson (2013)Film Art: An Introduction, 10 th edition. Boston, MA; London: McGraw-Hill.
Corrigan, Timothy and White, Patricia (2012) The film experience : an introduction, 3 rd edition. London: Palgrave Macmillan.
Villarejo, Amy (2013) Film studies : the basics, 2 nd edition. London: Routledge.
Weekly set readings
Week 1: What is Film Studies?
Dyer, Richard (1998) ‘Introduction to Film Studies’, in Hill, John and Pamela Church Gibson (eds)The Oxford guide to film studies. Oxford: Oxford University Press, pp. 3-10.
Nagib, Lúcia (2005) ‘Towards a Positive Definition of World Cinema’, in Lim, Song Hwee and Stephanie Dennison (eds)Remapping world cinema : identity, culture and politics in film. London and New York: Wallflower Press, pp. 30-37.
Week 2: Early Cinema
Gunning, Tom (1990) ‘The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde’ in Elsaesser, Thomas (ed.)Early cinema : space, frame, narrative. London: BFI, pp. 56-62.
Pearson, Roberta (1999) ‘Early Cinema’ in Nowell-Smith, Geoffrey (ed.) The Oxford history of world cinema Oxford: Oxford University Press, pp. 13-22.
Week 3: Soviet Montage
Bordwell, David (2003) ‘Monumental Heroics: Form and Style in Eisenstein’s Silent Films’ in Grieveson, Lee and Peter Krämer (eds)The silent cinema reader. London: Routledge, pp. 368-388.
Christie, Ian (1993) ‘Introduction: rediscovering Eisenstein’ in Christie, Ian and Richard Taylor (eds) Eisenstein rediscovered.London and New York: Routledge, pp. 1-30.
Week 4: The Mobile Frame – Jean Renoir
Jackson, Julian (2009)La Grande Illusion. London: BFI, pp. 20-29.
O’Shaughnessy, Martin (2000) Jean Renoir.Manchester: Manchester University Press, pp. 101-154.
Week 5: Introduction to Sound – Fritz Lang’s M
Chion, Michel (2009),Film, a sound art, trans. Claudia Gorbman. New York; Chichester: Columbia University Press, Chapter 3, pp.31-58.
Gunning, Tom (2000)The films of Fritz Lang : allegories of vision and modernity. London: BFI, Chapter 7, pp. 163-175.
Week 6: Hollywood and the Transition to Sound
Bordwell, David (1985) ‘The introduction of sound’ in Bordwell, David, Janet Staiger and Kristin Thompson (eds)The classical Hollywood cinema : film style & mode of production to 1960. London: Routledge, Chapter 23, pp. 298-308.
Elsaesser, Thomas and Malte Hagener (2010)Film theory : an introduction through the senses. London and New York: Routledge, Chapter 6, pp. 129-148.
Week 7: Reading Week
Week 8: Sound Design in Contemporary Hollywood
McCarthy, Todd (2007) ‘There Will be Blood’ (review) inVariety.(Nov 5-Nov 11 2007), 408:12, p. 32.
McGill, Hannah (2008) ‘There Will be Blood’ (review) inSight and sound.18:2 (Feb 2008), pp. 82-83.
O’Hara, Helen (2008) ‘There Will be Blood’ (review) in Empire.225 (March 2008), p. 44.
Sergi, Gianluca (1998) ‘A cry in the dark: the role of post-classical film sound’ in Neale, Steve and Murray Smith,Contemporary Hollywood Cinema. London and New York: Routledge. Chapter 10, pp. 156-165.
Week 9: Colour and mise-en-scene
Allinson, Mark (2001)A Spanish labyrinth : the films of Pedro Almodóvar. London: I.B. Tauris, Chapter 8, pp. 158-193.
Gibbs, John (2001)Mise-en-scene : film style and interpretation. London: Wallflower, Chapter 1, pp. 5-26.
Week 10: Colour and narrative
Tam, Kwow-kan and Wiman Dissanayake (1998)New Chinese Cinema. Oxford: Oxford University Press, Chapter 3, pp. 23-34.
Zheng, Yi (2010) ‘What Makes a Genre Blockbuster Good to Look At: Zhang Yimou’s Transformative Modus Operandi in Hero’, Film international ISSN: 1651-6826, Vol 8, Issue 1, pp. 47-62.
Week 11: Writing Essays
Corrigan, Timothy (2012)A short guide to writing about film, 8 th edition. Boston, MA: Pearson.
Doughty, Ruth and Deborah Shaw (2009) Film : the essential study guide. London and New York: Routledge.
General Bibliography (including further reading)
Allinson, Mark (2009) ‘Mimesis and Diegesis: Almodovar and the Limits of Melodrama’ in Epps, Bard and Despina Kakoudaki (eds)All about Almodóvar : a passion for cinema. Minneapolis, Minn.: University of Minnesota Press, pp. 141-165.
Andrew, Dudley (1984)Film in the aura of artPrinceton: Princeton University Press.
Aumont, Jacques, Alain Bergala, Michel Marie and Marc Vernet (1999)Aesthetics of filmAustin: University of Texas Press.
Bazin, André (1967)What is Cinema?Berkeley/Los Angeles: University of California.
Bazin, André (1974) Jean Renoir,edited with an introduction by François Truffaut . New York: Delta.
Bordwell, David (1985) Narration in the Fiction Film.London: Methuen.
Bordwell, David (2005)The Cinema of Eisenstein. London and New York: Routledge.
Bordwell, David and Kristin Thompson (2003)Film History: An Introduction, 2 nd Edition. New York: McGraw-Hill.
Bordwell, David and Noel Carroll (eds) (1996)Post-theory : reconstructing film studies. Madison: University of Wisconsin Press.
Burch, Noel (1990) ‘A Primitive Mode of Representation? ’ inLife to Those Shadows, Los Angeles: University of California Press, pp. 186-201.
Chapman, James (2003) Cinemas of the world : film and society from 1895 to the present.London: Reaktion.
Chion Michel (1994)Audio-vision : sound on screen, trans. by Claudia Gorbman. New York; Chichester: Columbia University Press.
Eisenstein, Sergei (1999 ) ‘Beyond the Shot’ in Braudy, Leo and Marshall Cohen (eds)Film Theory and Criticism: Introductory Readings, 5 th edition. Oxford: Oxford University Press, pp. 13-40.
Faulkner, Christopher (1986)The social cinema of Jean Renoir. New Jersey: Princeton University Press.
Gledhill, Christine and Williams, Linda (eds) (1999) Reinventing film studies.London: Arnold.
Hill, John and Pamela Church Gibson (eds) (2000) World cinema : critical approaches. Oxford: Oxford University Press.
Kaes, Anton (1999) M. London: BFI.
Lim, Song Hwee and Julian Ward (eds) (2011)The Chinese cinema bookLondon: BFI.
Lim, Song Hwee and Stephanie Dennison (eds) (2006) Remapping world cinema : identity, culture and politics in film.London and New York: Wallflower Press.
Nowell-Smith, Geoffrey (ed.) (1999)The Oxford history of world cinemaOxford: Oxford University Press.
O’Shaughnessy, Martin (2009) La grande illusion : (Jean Renoir, 1937).London: I.B. Tauris.
Pye, Douglas and Iris Luppa (2011) ‘ M: Leading the Blind’ in Movie: A Journal of Film Criticism 2. Online. http://www2.warwick.ac.uk/fac/arts/film/movie/contents/m_layout_2.pdf Accessed 15/07/2014.
Rawnsley, Gary D. and Ming-Yeh T. Rawnsley (eds) (2010)Global Chinese cinema : the culture and politics of Hero. London: Routledge.
Shohat, Ella and Robert Stam (eds) (1994)Unthinking Eurocentrism : multiculturalism and the mediaLondon and New York: Routledge.
Stam, Robert (2000) Film Theory: An Introduction.Malden and Oxford: Blackwell.
Strauven, Wanda (ed) (2006)The cinema of attractions reloaded. Amsterdam: Amsterdam University Press.
Triana-Toribio, Nuria (2003)Spanish national cinema. London: Routledge.
Vincendeau, Ginette and Keith Reader (eds) (1986)La vie est a nous! : French cinema of the Popular Front, 1935-1938. London: BFI.
This list was last updated on 07/07/2017