MC426 Half Unit
Film Theory and World Cinema
This information is for the 2013/14 session.
Dr Shakuntala Banaji STC. S103
This course is available on the MSc in Global Media and Communications (LSE and Fudan), MSc in Global Media and Communications (LSE and USC), MSc in Media and Communications, MSc in Media and Communications (Media and Communications Governance), MSc in Media and Communications (Research), MSc in Media, Communication and Development and MSc in Politics and Communication. This course is available with permission as an outside option to students on other programmes where regulations permit.
This course is designed to enable a consistent, informed and plausible reading of popular film representations, discourses and cultures of consumption in specific geopolitical contexts. Introducing theories from the humanities and the social sciences, lectures offer alternative approaches to theorising sexuality, gender, race, class, religion, national identity, childhood, history and politics in popular commercial films and their interpretation by audiences. The impact of unequal power relations - on how representations are reproduced, spectatorship is theorised and censorship policies are formulated - will be demonstrated and analysed. While the course offers a particular focus on Hindi commercial cinema as an example of World cinema, it refers more widely to examples from other National Cinemas such as those of China, Korea, Australia, Mexico and Iran. A key learning method is the extensive interrogation of audiovisual materials. To this end, there will be five film screenings alongside the lectures and seminars. Additionally, films referred to on the course will be made available through the library or can be downloaded and watched from popular film sites on the internet.
10 hours of lectures and 10 hours of seminars in the MT.
5 three-hour film screenings in the MT.
All students are expected to complete advance reading, present in seminar discussions, attend 5 film screenings and submit one essay of 1,500 words.
Banaji, S. (2006) Reading 'Bollywood': The Young Audience and Hindi Film, Basingstoke: Palgrave-Macmillan; Barker, M. and Brooks, K. (1998) Knowing Audiences: Judge Dredd - its friends, fans and foes. Luton: University of Luton Press; Dudrah, R. & Desai, J. (Eds) (2008) The Bollywood Reader, London: McGraw Hill; Hjort, M. & Mackenzie, S. (2002) (eds), Cinema & Nation London: Routledge; Gledhill, C. and Williams, L. (2000) (Eds) Reinventing Film Studies, London: Arnold; BFI Publishing; Jancovich, M. (2002) Horror: The Film Reader, London: Routledge; Lury, K. (2010) The Child In Film: Tears, fears and fairytales. London IB Tauris. Stam, R. (2000) Film Theory: An Introduction. Malden, Massachusetts & Oxford: Blackwell Publishers; Thornham, S. (ed) (1999), Feminist Film Theory: a reader, New York: New York University Press; Turner, G. (1999, third edition) Film as Social Practice, London and New York: Routledge; Tapper, R. (ed) (2003). The New Iranian Cinema: Politics, Representation and Identity London: I.B. Tauris. Vitali, V. and Willemen, P. (eds) (2006) Theorising National Cinema London: BFI.
Essay (100%, 3000 words).
To be submitted in week 2 of Lent Term.
Department: Media & Communications
Total students 2012/13: 29
Average class size 2012/13: 14
Value: Half Unit
Personal development skills
- Team working
- Specialist skills