FS10030 Introduction to Film Style and Aesthetics

Academic Year 2020/2021

Style in film for its own sake has little value. The real merit of film style is its ability to bring a film story to life in a distinctive audio visual manner.

This module is an introduction to motion picture production and technique. Specifically, it addresses the core crafts of editing, cinematography, sound, production design and directing. The module explores how these core crafts collaborate in practice to construct and shape the audio visual story.

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Curricular information is subject to change

Learning Outcomes:

An understanding and appreciation of: (i) film production as an industrial art form, (ii) the collaborative processes that define the style and aesthetics of any given film.

Indicative Module Content:

Student Effort Hours: 
Student Effort Type Hours
Lectures

27
Specified Learning Activities

20
Autonomous Student Learning

60
Total

107
Approaches to Teaching and Learning:
The module is delivered via online lectures. There is no small group teaching (SGT) on the module. Audio visual segment presentation and analysis is a standard, integral part of lectures. This immersive experience enhances in a practical, industry relevant manner, the student learning experience.

Students are expected to view a number of recommended films autonomously as part of their own individual learning effort during the semester.
 
Requirements, Exclusions and Recommendations

Not applicable to this module.


Module Requisites and Incompatibles
Additional Information:



 
Assessment Strategy  
Description Timing Open Book Exam Component Scale Must Pass Component % of Final Grade
Essay: Short essay (1,000 words) Coursework (End of Trimester) n/a Graded No

50
Essay: Short Essay (1000 Words) Unspecified n/a Graded No

50

Carry forward of passed components
No
 
Resit In Terminal Exam
Autumn Yes - 2 Hour
Please see Student Jargon Buster for more information about remediation types and timing. 
Feedback Strategy/Strategies

• Feedback individually to students, on an activity or draft prior to summative assessment
• Feedback individually to students, post-assessment
• Group/class feedback, post-assessment

How will my Feedback be Delivered?

Post assessment feedback via oral, written, e mail, and / or meetings is the norm for the written essay component. Students may also submit essay component draft material for feedback prior to summative assessment.

Academic Year: 2020-2021. FS10030 (Film Style & Aesthetics).


Student Library Research Reading & Film Lists.



Key Texts:


David Bordwell & Kristen Thompson.
Film Art, An Introduction, (12th Edition) McGraw Hill, 2019.

Joe Boggs & Dennis W. Petrie.
Art of Watching Films, (8th or 9th Editions) McGraw Hill, 2011 or 2018.



Additional Reading:


Walter Murch. In the Blink of an Eye; A Perspective on Film Editing, (2nd Edition). Silman James, 2001.

Alexander Mackendrick. On Film-Making: An Introduction to the Craft of the Director.
Faber and Faber, 2006.

David Mamet. On Directing Film. Faber & Faber, 1992.

Steven Ascher (with Edward Pincus). The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age (5th Edition). Penguin Puttnam, 2019.

Peter W.Rea & David K. Irving. Producing and Directing the Short Film and Video, (5th Edition). Focal Press, 2015.

Joseph Mascelli. The Five Cs of Cinematography. Silman James, 1998.

Larry Sider, Diane Freeman & Jerry Sider (eds). Soundscape: The School of Sound Lectures 1998-2001 (2nd edition). The School of Sound (UK), 2010.

Pam Cooke. The Cinema Book, (2nd or 3rd Editions). British Film Institute. 1999 or 2008.

Michael Caine. Acting in Film, (Revised Expanded Edition). Applause, 2000.

Jane Barnwell. Production Design for Screen - Visual Storytelling in Film and Television. Bloomsbury Visual Arts, 2017.

Barry Salt. Film Style and Technology (3rd Edition). Starword, 2009.

American Society of Cinematographers. American Cinematographer Magazine. (Periodical), Ongoing.





Recommended Films (curriculum detail):


Barry Lyndon. Stanley Kubrick. Warner Bros. 1975.

Cape Fear. Martin Scorsese. Universal Pictures. 1991.

Il Conformista. Bernardo Bertolucci. Paramount Pictures. 1970.

The Cutting Edge - The Magic of Movie Editing. Wendy Apple. Warner Video. 2004.

Dreams. Akira Kurosawa. Warner Bros. 1990.

Duck Soup. Leo McCarey. Paramount Pictures. 1933.

Frozen Land. Aku Louhimies. Markus Selin. 2005 (Finland).

Goodfellas. Martin Scorsese. Warner Bros. 1990.

Hannah and Her Sisters. Woody Allen. Orion Pictures. 1986.

Heartlands. Damien O’Donnell. Miramax Films. 2002.

Koyaanisqatsi. Godfrey Reggio. Island Alive New Cinema. 1983.

The Long Day Closes. Terence Davies. British Film Institute. 1992.

Lost in La Mancha. Keith Fulton & Louis Pepe. IFC Films. 2002.

The Magic of Méliès. George Méliès. Kino Lorber. 1905.

The Maltese Falcon. John Huston. Warner Bros.. 1941.

The Man Who Wasn’t There. Joel Coen. Entertainment Film Distribution. 2001.

Once upon a Time in America. Sergio Leone. Warner Bros. 1984.

Once upon a Time in the West. Sergio Leone. Euro Int’l Film. 1968.

Requiem for a Dream. Darren Aronofsky. Artisan Entertainment. 2000.

Saving Private Ryan. Steven Spielberg. Paramount Pictures.1998.

Schindler’s List. Steven Spielberg. Universal Pictures. 1983.

The Shining. Stanley Kubrick. Warner Bros. 1980.

Singin’ in the Rain. Gene Kelly & Stanley Donen. MGM / Loew’s Inc. 1952.

Strangers on a Train. Alfred Hitchcock. Warner Bros. 1951.

T-Men. Anthony Mann. Eagle Lion Films. 1947.

The Third Man. Carol Reed. British Lion Corporation. 1949.

The Time of the Gypsies. Emir Kusturica. Columbia Pictures. 1990.

Trainspotting. Danny Boyle. Miramax Films. 1996.

Under Fire. Roger Spottiswoode. Orion Pictures. 1983.

The Untouchables. Brian de Palma. Paramount Pictures. 1987.

Up. Pete Docter. Walt Disney. 2009.




Recommended Films (ex curriculum):


Apocalypto. Mel Gibson. 2006.

The Artist. Michel Hazanavicius. 2011.

Babette’s Feast. Gabriel Axel. 1987.

Blue Velvet. David Lynch. 1986.

The Birds. Alfred Hitchcock. 1963.

Braveheart. Mel Gibson. 1995.

Caché (Hidden). Michael Haneke. 2005.

Citizen Kane. Orson Welles. 1941.

City Lights. Charlie Chaplin. United Artists. 1931.

Distant Voices, Still Lives. Terence Davies. British Film Institute. 1988.

East is East. Damien O’Donnell. 1999.

El Mariachi. Robert Rodriguez. 1993.

The Exorcist. William Friedkin. 1973.

The Godfather Part 1. Frances Ford Coppola. 1972.

The Godfather Part 2. Frances Ford Coppola. 1974.

Hukkle. György Pálfi. Arsenal. 2002.

Jaws. Steven Spielberg. Universal Pictures. 1975.

Jean de Florette. Claude Berri. 1986.

Locke. Stephen Knight. 2014.

Lost Highway. David Lynch. 1997.

Loving Vincent. Dorota Kobiela & Hugh Welchman. Altitude Film Distribution. 2017.

Manon Des Sources. Claude Berri. 1989.

Powaqqatsi. Godfrey Reggio. Cannon Group. 1988.

Psycho. Alfred Hitchcock. 1960.

Raging Bull. Martin Scorsese. 1980.

Rear Window. Alfred Hitchcock. 1954.

The Red Balloon. Albert Lamorisse. 1956.

Requiem for a Dream. Darren Aronofsky. 2000.

The Revenant. Alejandro González Inárritu. 2015.

Russian Ark. Alexei Sukorov. 2002.

Shrek. Andrew Adamson & Vicky Jenson. Dreamworks. 2001.

The Shawshank Redemption. Frank Darrabont. 1995.

Shutter Island. Martin Scorsese. 2010.

The Sixth Sense. M. Night Shayamalan. 1999.

Tarnation. Jonathan Caouette. 2004.

Taxi Driver. Martin Scorsese. 1976.

The Tribe. Miroslav Slaboshpitsky. 2014.

Triumph of the Will. Leni Riefenstahl. Universum Film AG.1935.

12 Angry Men. Sidney Lumet. 1957.

2001: A Space Odyssey. Stanley Kubrick. 1968.



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