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MODL1800 Reading List

Introduction to Film Studies II, 2021/22, Semester 2
Mani King Sharpe
Tutor information is taken from the Module Catalogue

MODL1800 Introduction to Film Studies II

Reading List

Key resources

Bordwell, David and Kristin Thompson (2003) Film History: An Introduction, 2 nd Edition. New York: McGraw-Hill.

Corrigan, Timothy and White, Patricia (2012) The film experience : an introduction, 3 rd edition. London: Palgrave Macmillan.

Cook, Pam (ed) (2007) The cinema book, 3rd edition. London: BFI.

Villarejo, Amy (2013) Film studies : the basics, 2nd edition. London: Routledge.

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Week 1: Reading week – no teaching.

Ross, E. 2015. Filmish : a graphic journey through film ISBN: 9781910593035 (paperback); 1910593036 (paperback). London: SelfMadeHero.

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Week 2: The French New Wave and the politique des auteurs

Required Reading: Orpen, V. 2007. 'Production contexts'. In: Cléo de 5 à 7. Tauris: London. pp. 3-22.

Optional Reading: Greene, N. 2007.'Introduction'. In: The French New Wave: A New Look. London: Wallflower, pp.1-14.

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Week 3: Yasujiro Ozu

Required Reading: Desser, D. 1997. Introduction. In: Desser, D. ed. Ozu’s Tokyo Story. Cambridge: Cambridge University Press, pp. 1-24.

Optional Reading: Geist, K. 2006. Ozu and the Nation. In: Vitali, V. and Willeman, P. eds. Theorising National Cinema. London: BFI, pp. 114-28.

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Week 4: Italian Neorealism

Required Reading: Sheil, M. 2006. 'Introduction: describing neorealism'. In: Italian Neo-realism: rebuilding the cinematic city. London: Wallflower. pp. 1-16.

Optional Reading: Bazin, A. 1971. A Note on Umberto D and Umberto D: A Great Work. What is Cinema? Vol. II. Berkeley: University of California Press, pp. 76-82.  

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Required Reading: Sartelle, J. 1996. Dreams and Nightmares in the Hollywood Blockbuster. In: Nowell-Smith, G. ed. The Oxford History of World Cinema. Oxford: Oxford University Press, pp. 516-26.

Optional Reading: King, G. 2002. New Hollywood, Version II: Blockbusters and Corporate Hollywood. New Hollywood Cinema: An Introduction. New York: Columbia University Press, pp. 49-84.

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Week 6: Contemporary Hollywood Cinema

Required Reading: Creed, B. 1993. The Monstrous Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, pp. 1-7; 73-78.

Optional Reading: Dyer, R. and Vincendeau, G. 1992. Introduction. In: Dyer, R. and Vincendeau, G. eds. Popular European Cinema. Oxon: Routledge, pp. 1-15.

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Week 7: Global Cinemas – the South Korean blockbuster

Required Reading: Chung, H. J. 2009. The Host and D-War: Complex Intersections of National Imaginings and Transnational Aspirations. Spectator: The University of Southern California Journal of Film and Television. 29(2), Fall, pp. 48-56. 

Optional Reading: Berry, C. 2003. What’s Big About the Big Film? “De-Westernizing” the Blockbuster in Korea and China. In: Stringer, J. ed. Movie Blockbusters. London: Routledge, pp. 217-229.

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Week 8: The British Documentary Movement

Required Reading: McLane, B. 2012. Institutionalization: Great Britain, 1929-1939. A New History of Documentary Film. 2nd ed. New York: Continuum, pp. 73-92.

Optional Reading: Grierson, J. 2006 [1932-4]. First Principles of Documentary. In: Cousins, M. and Macdonald, K. eds. Imagining Reality: The Faber Book of Documentary. London: Faber & Faber, pp. 97-101.

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Week 9: American Independent Cinema

Required Reading: Newman, M. 2011. Indie Cinema Viewing Strategies. Indie: An American Film Culture. New York: Columbia University Press, pp. 21-47.

Optional Reading: King, G. 2005. Industry. American Independent Cinema. London, New York: I.B.Tauris, pp. 11-58.

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Week 10: Industry Guest Lecture – Film Programming

Bosma, P. 2015. Introduction and Reflection. Film Programming : Curating for Cinemas, Festivals and Archives ISBN: 9780231850827 (e-book). New York: Wallflower Press, pp. 1-19. 

Willis, A. 2010. Cinema curation as practice and research: the Visible Secrets project as a model for collaboration between art cinemas and academics. Screen. ISSN: 0036-9543. 51(2), pp. 161-167.

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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.

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General Bibliography (including further reading)

Andermann, Jens (2012) New Argentine cinema. London: I.B.Tauris.

Andrew, Dudley (1984) Film in the aura of art. Princeton: Princeton University Press.

Aumont, Jacques, Alain Bergala, Michel Marie and Marc Vernet (1999) Aesthetics of film. Austin: University of Texas Press.

Bazin, André (1967) What is cinema? Berkeley/Los Angeles: University of California.

Bordwell, David (1985) Narration in the Fiction Film. London: Methuen.

Bordwell, David and Noel Carroll (eds) (1996) Post-theory : reconstructing film studies. Madison: University of Wisconsin Press.

Caughie, John (ed.) (1996) Theories of authorship : a reader. London: Routledge

Chapman, James (2003) Cinemas of the world : film and society from 1895 to the present.London: Reaktion.

Ferreira, Ana Paula (1996) ‘Homebound: The Construct of Femininity in the Estado Novo’ in Portuguese studies., 12: pp. 133-44. Available as an Online Course Reading in Minerva 

French, Sean (1996) The terminator. London: BFI.

Gledhill, Christine and Williams, Linda (eds) (1999) Reinventing film studies. London: Arnold.

Grant, Barry Keith (ed.) (2008) Auteurs and authorship : a film reader. Malden, Mass/Oxford: Wiley Blackwell.

Hill, John and Pamela Church Gibson (eds) (2000) World cinema : critical approaches. Oxford: Oxford University Press.

Hillier, Jim (2001) American independent cinema : a sight and sound reader. London: BFI.

Hunt, Leon and Leung Wing-Fai (eds) (2008) East Asian cinemas : exploring transnational connections on film. London; New York: I.B. Tauris.

King, Geoff (2005) American independent cinema. London: I.B. Tauris.

Lee, Nikki J. Y. (2011) ‘Localized Globalization and a Monster National: “The Host” and the South Korean Film Industry’ in Cinema journal. Vol. 50, No. 3 (Spring 2011), pp. 45-61.

Lim, Song Hwee and Stephanie Dennison (eds) (2006) Remapping world cinema : identity, culture and politics in film. London and New York: Wallflower Press.

Mira, Alberto (ed) (2003), The cinema of Spain and Portugal (London and New York: Wallflower).

Neale, Steve (2012) The classical Hollywood reader. London: Routledge.

Neale, Steve and Murray Smith (eds) (1998) Contemporary Hollywood Cinema. London: Routledge.

Nowell-Smith, Geoffrey (ed.) (1999) The Oxford history of world cinema. Oxford: Oxford University Press.

Page, Joanna (2009) Crisis and capitalism in contemporary Argentine cinema. Durham, N.C.; London: Duke University Press.

Russell, Catherine (2011) Classical Japanese cinema revisited. New York: Continuum.

Shohat, Ella and Robert Stam (eds) (1994) Unthinking Eurocentrism : multiculturalism and the media. London and New York: Routledge.

Stam, Robert (2000) Film theory : an introduction. Malden and Oxford: Blackwell.

Vieira, Patricia (2013) Portuguese film, 1930-1960 : the staging of the new state regime. New York; London: Bloomsbury Academic.

Schatz, Thomas (2003) ‘The New Hollywood’ in Stringer, Julian (ed.) Movie blockbusters. London, New York: Routledge, pp. 15-44.

This list was last updated on 16/01/2020