Introductory description

This module aims to introduce students to theoretical models that were originally developed in subject areas such as English Literature, Philosophy, and Psychology and to address the ways in which such theories have been taken up by scholars within Film Studies.

Module aims

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

The syllabus covers a range of theories that have been influential in their application to film. The module is structured so that a different topic is introduced and discussed each week or, for more foundational approaches/where necessary, over two weeks. Each topic is dedicated to a specific theoretical approach, addressing the primary material in the first instance, the theorists who have taken this into Film Studies and then the application of the theory to the close reading of film. Indicative content:
1: Structuralism – an analysis of structuralist linguistics and the impact of Saussure’s new model of meaning construction. The ways in which Film theorists took up and adapted the work of, for example, Vladimir Propp
2. Marxism – an analysis of Althusser’s theory of ideology and its importation into Film Theory by, for example, Baudry.
3: Psychoanalysis – an analysis of Freud’s take up of, for example, the Oedipus myths and the reworking of the literary sources as steps in subject formation. The take up of psychoanalytic models by film theorists, such as Mulvey.
4: Postmodernism – an analysis of the work of key theorists of the postmodern: Frederic Jameson and Linda Hutcheon, focussing on major areas of disagreement. The take up of these models within film theory by Constable et al.
5. Postcolonialism – an analysis of postcolonial theory and its implication for understandings of the Imperial Gaze by film theorists such as Stam and Spence.
6. Queer Theory – an analysis of the work of key theorist, Judith Butler, and her use of film in illuminating queer theory. The broader take up of this approach within Film Studies.
7. Ethics – an analysis of key philosophical theories of, for example, ethical obligation. The take up of these by film theorists, such as Downing and Saxton.
8. Crip Theory – an analysis of theories of able-bodiedness, by for example Davies, and their application to the reading of the normativity of film, by McRuer.
9. Affect and Haptic Theory – an analysis of the work of key theorists of phenomenology and the body, and their take up by film theorists like Sobchack.

Learning outcomes

By the end of the module, students should be able to:

• 1) To locate the development of theoretical models within Film Studies within broader interdisciplinary contexts.
• 2) To demonstrate a sound understanding of one of more areas of theoretical debate within Film Studies.
• 3) To demonstrate an ability to use theoretical language with precision and to analyse argument in a rigorous way.
• 4) To demonstrate an ability to apply theory to specific film texts and to add a conceptual dimension to close textual analysis.

Indicative reading list

Reading lists can be found in Talis

Subject specific skills

This module develops skills of audio-visual literacy, through close textual and/or contextual analysis in relation to the moving image and sound. It may also develops understandings of historical, theoretical and conceptual frameworks relevant to screen arts and cultures.

Transferable skills

• critical and analytical thinking in relation
• independent research skills
• team work
• clarity and effectiveness of communication, oral and written
• accurate, concise and persuasive writing
• audio-visual literacy