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COMM5825M
COMM5825 Reading List 21/22

Film Theory and Practice, 2021/22, Semester 1
Rafe Clayton
r.m.clayton@leeds.ac.uk
Tutor information is taken from the Module Catalogue

Core reading

Week 1. A Typology of Short Film: Introduction to the module and the medium

Elsey, E., & Kelly, A. (2002). In short: a guide to short film-making in the digital age. British Film Institute.  

Breen, M. P. (1978). The Rhetoric of the Short Film. Journal of the University Film Association, 30(3), 3-13. https://www.jstor.org/stable/20687433  

Biesterfeld, P. (2020). The six primary types of documentaries. Videomaker. https://www.videomaker.com/article/c06/18423-six-primary-styles-of-documentary-production  

Raskin, R. (2014). On short film storytelling. Journal of Scandinavian Cinema, 4(1), (pp.29-34).  Available online: https://doi.org/10.1386/jsca.4.1.29_1

Week 2. Questioning the Cinematic: What is the philosophy of film?

Bazin, A. (2004). What Is Cinema? - Volume I. (pp. 9-22). University of California Press.  

Doughty, R. and Etherington-Wright, C., (2018). Understanding film theory, 2nd Edition. (pp. 121-140) Macmillan International Higher Education.    

Grønstad, A. (2002). The appropriational fallacy: Grand theories and the neglect of film form. Film-Philosophy, 6(1). http://www.film-philosophy.com/vol6- 2002/n23gronstad  

Totaro, D. (2001) Time, Bergson, and the Cinematographical Mechanism. Off Screen. https://offscreen.com/view/bergson1  

Week 3. Realism vs. Illusion: What are film’s social and aesthetic purposes?

Williams, E.R., Love, C., Love, M. and Durado, A., (2021). Virtual Reality Cinema: Narrative Tips and Techniques. (pp. 20-40) Routledge.    

Fan, V. (2015). Cinema approaching reality: Locating Chinese film theory. https://www.academia.edu/33060826/Cinema_Approaching_Reality  

Nichols, B. (1991). Representing reality : issues and concepts in documentary . (pp. 32-75). Indiana University Press.   OCR REQUESTED BY LIBRARY (PR 06/10/2021) Available as an Online Course Reading in Minerva 

Bordwell, D., & Thompson, K. (2010). Film art : an introduction (Fourth edition.). Chapter 6. (pp. 169-209). McGraw-Hill.   OCR REQUESTED BY LIBRARY (PR 06/10/2021) Available as an Online Course Reading in Minerva 

Schrader, P. (2018). Transcendental Style in Film: Ozu, Bresson, Dreyer. (pp. 25-33) Univ of California Press. (NB. NOT the 1988 edition)  

Pearson, R.E. (1992). Eloquent Gestures. University of California Press. (pp.52 – 74)  

Week 4. Historical Influences: Russian Formalism and the French New Wave.

Bazin, A. (2004). What Is Cinema? - Volume I. (pp. 23-76). University of California Press.  

Balázs, B., Carter, E. and Livingstone, R. eds. (2010) Béla Balázs: Early film theory: Visible man and the spirit of film. (pp 17-51) Berghahn Books.    

Cook, D.A. (2016). A history of narrative film. (pp 350- 355) WW Norton & Company.   Available as an Online Course Reading in Minerva 

Eisenstein, S. (2014). Film form: Essays in film theory. (pp 72-83) HMH.    

Pop, D. (2020) ‘The Latest European New Wave’ found in Lewis, I. and Canning, L. (eds). European Cinema in the Twenty-First Century. (pp 149-166) Palgrave McMillan.    

Week 5. Rejecting Illusions: Decentralisation and underground movements

Kolokytha, O. (2020) ‘Technology, Decentralisation and the Periphery of European Filmmaking’ found in Lewis, I. and Canning, L. (eds). European Cinema in the Twenty-First Century. (pp 207-226) Palgrave McMillan.    

Hallam, J., & Marshment, M. (2000). Realism and popular cinema. pp. ix-xvi. Manchester University Press.  Available as an Online Course Reading in Minerva 

Le Grice, Malcolm, (2001) The History We Need [1977]. FROM: Le Grice, Malcolm, Experimental cinema in the digital age. (pp.29-37). London : British Film Institute. [9]  

Rees, A. (2011). A history of experimental film and video (Second edition.). (pp. 92- 96) BFI.  

Week 6. Cinematic Time: Shots, cuts, ghosts and duration

Zettl, H. (2016). Sight, sound, motion: Applied media aesthetics (Chapter 12). Cengage Learning.    

Schrader, P. (2018). Transcendental Style in Film: Ozu, Bresson, Dreyer. (pp. 10-21). Univ of California Press. (NB. NOT the 1988 edition)  

Schlemowitz, J. (2019). Experimental Filmmaking and the Motion Picture Camera: An Introductory Guide for Artists and Filmmakers. (pp. 27-53) Routledge.    

Banis, D. (2020). Waiting for Tenet: The Most Creative Meditations on Time in the History of Cinema. Submarine Channel. https://submarinechannel.com/waiting-for-tenet-the-most-creative-meditations-on-time-in-the-history-of-cinema/  

Deleuze, G. (2013). Cinema II: the time-image. (pp. x-xii) Bloomsbury Publishing.  Available as an Online Course Reading in Minerva 

Leeder, M. (Ed.). (2015). Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. (pp. 1-14). Bloomsbury Publishing USA.  

Week 7. Psychoanalysing Film: Whose dreams are we watching anyway?

Readings: Stam, R. ed. (2005). New vocabularies in film semiotics: Structuralism, post-structuralism and beyond. (pp. 123-174) Routledge.    

Schlemowitz, J. (2019). Experimental Filmmaking and the Motion Picture Camera: An Introductory Guide for Artists and Filmmakers. (pp. 54-82) Routledge.    

Murphy, P. (2005). Psychoanalysis and Film Theory Part 1: A New Kind of Mirror. Kritikos. https://intertheory.org/psychoanalysis.htm  

Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26). Palgrave Macmillan, London.  Available as an Online Course Reading in Minerva 

McGowan, T. (2007). The real gaze : film theory after Lacan . (pp. 163-169). State University of New York Press.  

Week 8. Narrative and Non-narrative: Semiotics of moving pictures

Stam, R. ed. (2005). New vocabularies in film semiotics: Structuralism, post-structuralism and beyond. (pp. 28-68) Routledge.    

Verstraten, P., & Lecq, S. (2009). Film narratology. (pp. 3-11). University of Toronto Press.  

Hellerman, J. (2019). What Is a Non-Linear Narrative and How Do You Write One? No Film School. https://nofilmschool.com/nonlinear-narrative-definition-examples  

Bolewski, C. (2011). Nonlinear narratives: crossing borders between contemporary film, art and digital media practice. International Journal of the Arts in Society, 6(1), pp.239-250. https://repository.lboro.ac.uk/articles/Nonlinear_narratives_crossing_borders_between_contemporary_film_art_and_digital_media_practice/9335429  

Morari, C. E. (2007). Forms Mirroring Feelings: Iconicity and Empathy in Visual Metaphors and Non-Narrative Structures. Narration and Spectatorship in Moving Images, 92-104.  

Week 9. Cinematic Convergence: Film, photography and essay films

Sutton, D. (2009). Photography, Cinema, Memory - The Crystal Image of Time. (pp. ix – xiii) University of Minnesota Press.  

Røssaak, E. (2011). Between Stillness and Motion. (pp. 101-103). Amsterdam University Press.  

Hynes, E. (2015). Attention, Documentary Filmmakers: 5 Strategies for working with archival footage. IndieWire. https://www.indiewire.com/2015/05/attention-documentary-filmmakers-5-strategies-for-working-with-archival-footage-62292/  

Bradshaw, N. et al. (2019). The Essay Film. Sight & Sound magazine, BFI. https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/essay-film  

Coley, R. (2018). “Destabilized Perception” Infrastructural Aesthetics in the Films of Adam Curtis. Cultural Politics, 14(3), (pp. 304-326). https://read.dukeupress.edu/cultural-politics/article-abstract/14/3/304/136860/Destabilized-Perception-Infrastructural-Aesthetics  

Broeren, J. (2015). Is it a documentary? Is it an art film? You tell me! International Documentary Film Festival Amsterdam (IDFA). https://www.idfa.nl/en/article/27481/errol-morriss-top-10  

Sadhu, S. (2013). Vagrancy and drift: the rise of the roaming essay film. The Guardian. https://www.theguardian.com/film/2013/aug/03/rise-essay-film-bfi-season  

Week 10. Film Online: New technologies, screens, practices and audiences

Gilardi, F., White, A., Cheng, S., Sheng, J., Song, W., & Zhao, Y. (2020). How online video platforms could support China’s independent microfilm (short film) makers and enhance the Chinese film industry. Cultural Trends, 29(1), 35-49. https://doi.org/10.1080/09548963.2019.1697852  

Clayton, R., 2021. The Context of Vertical Filmmaking Literature. Quarterly Review of Film and Video, Full article: The Context of Vertical Filmmaking Literature (tandfonline.com)  

Ryan, K. M. (2018). Vertical Video: Rupturing the Aesthetic Paradigm. Visual Communication 17, no. 2: pp. 245–261.  

McGinn, J. (2006). The Day of Reckoning: Online Short Film Distribution. Film Ireland, (113), 39.  

Taillibert, C. (2018). Online Film Festivals: New Perspectives for Film Festivals on the Internet. International Film Festivals: Contemporary Cultures and History Beyond Venice and Canneshttps://halshs.archives-ouvertes.fr/halshs-02171572/document  

Eisenstein, S. (2014). The dynamic square. In Film Essays and a Lecture (pp. 48-66). Princeton University Press.  

Week 11. Film in the Gallery: Artists in the cinema, filmmakers making art

Elsaesser, T. (2018). The Loop of Belatedness: Cinema After Film in the Contemporary Art Gallery. Senses of Cinema. http://sensesofcinema.com/2018/cinema-and-the-museum/cinema-contemporary-art-gallery/  

London, B. (2020). Video/Art: The First Fifty Years. (pp. 45-49). Phaidon Press. COMM5825M Film Theory and Practice 12  Available as an Online Course Reading in Minerva 

Trodd, T. (2011). Screen/space : the projected image in contemporary art. (pp. 1-8) Manchester University Press.  Available as an Online Course Reading in Minerva

Danino, N, (2014). The film industry finally wakes up to what artists have to offer. The Conversation. https://theconversation.com/the-film-industry-finally-wakes-up-to-what-artists-have-to-offer-24246  

This list was last updated on 22/09/2021