FS30180 Alternative&Independent Cinema

Academic Year 2023/2024

This module examines Anglophone Alternative and Independent cinemas from the 1970s to the present. With a marked increase in the production of blockbusters, remakes and other films based on pre-sold properties or established franchises, it has often been left to the rather loosely defined “alternative cinema” sector to produce films that pursue originality in terms of aesthetics, politics, representation and cultural commentary. Through an examination of a number of key films from the last four decades, the parameters of what constitutes alternative cinema shall be interrogated. Notably, the module shall examine three inter-related areas of critical interest: changing economic models of alternative cinema production and distribution and their relation to the output of “major studios”; how alternative cinema breaks from dominant aesthetic regimes such as “classical” Hollywood cinema; and whether such films promote alternative ideological viewpoints and challenge the status quo in terms of political, social, and sexual orthodoxies.

IMPORTANT: CONTENT WARNING: This module deals with challenging screen content. A lot of the films shown will have an 18 rating and deal with serious themes and issues. By its nature alternative cinema contests a variety of societal norms. Some of the films screened display unflinching representations of a variety of matters, including mental illness (A Woman under the Influence, 1974), sexuality (Mysterious Skin, 2004), and racial tensions (Bamboozled, 2004). While content warnings will be provided and occasional alternative screenings might be suggested, I recommend that you take some time to investigate the films to be screened to make sure this is the right module for you. Films to be screened (Occasional changes might be made):

A Woman under the Influence (John Cassavetes, 1974)
Distant Voices, Still Lives (Terence Davies, 1988)
My Winnipeg (Guy Maddin, 2007)
Sex, Lies and Videotape (Steven Soderbergh, 1989)
I, Daniel Blake (Ken Loach, 2016)
Bamboozled (Spike Lee, 2000)
Frank (Lenny Abrahamson, 2014)
Mysterious Skin (Gregg Araki, 2004)
Humpday (Lynn Shelton, 2009)
Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)

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Curricular information is subject to change

Learning Outcomes:

On completion of this course, students will be able to:1) Identify differences in style between and among mainstream cinema and its alternative counterparts.2) Analyse the degree to which alternative cinemas challenge dominant cultural assumptions regarding the construction of social and national identities.3) Identify ways in which technological innovation has influenced the production, marketing, and exhibition of independent cinemas.4) Explain how the economic infrastructures underpinning the production, marketing and exhibition of various independent cinemas compare and contrast with Hollywood’s industrial model. 5) Demonstrate the ability to conduct independent, discipline-specific research and to cite that research using an appropriate documentation system.

Student Effort Hours: 
Student Effort Type Hours
Lectures

20
Laboratories

20
Specified Learning Activities

40
Autonomous Student Learning

170
Total

250
Approaches to Teaching and Learning:
Teaching methods include lectures and critical seminar discussions and analysis. Classes will be a combination of lecture, seminar, and written and oral theoretical and analytical exercises. Students will be expected to attend all classes and screenings, read from a wide selection of sources, comment upon the readings (both online in the group discussion boards and in class) and participate in class discussion. Delivery of a presentation is a key element of the continuous assessment. Students will deliver an individual assessment, but also provide peer review of others' presentations. 
Requirements, Exclusions and Recommendations

Not applicable to this module.


Module Requisites and Incompatibles
Not applicable to this module.
 
Assessment Strategy  
Description Timing Open Book Exam Component Scale Must Pass Component % of Final Grade
Essay: Final Essay Week 12 n/a Standard conversion grade scale 40% Yes

50
Continuous Assessment: Students will give one presentation during the semester and engage in class discussion/peer feedback Throughout the Trimester n/a Standard conversion grade scale 40% Yes

25
Essay: Mid-term essay Week 7 n/a Standard conversion grade scale 40% Yes

25

Carry forward of passed components
Yes
 
Resit In Terminal Exam
Summer No
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?

Global feedback to the entire class will be delivered in a lecture after assessed components. Students will also have an opportunity to meet with lecturer during scheduled personal feedback sessions during the term, as well as by personal appointment during weekly consultation hours, especially in lead up to final assignment.

Timetabling information is displayed only for guidance purposes, relates to the current Academic Year only and is subject to change.
 
Spring
      
Lecture Offering 1 Week(s) - 20, 21, 22, 23, 24, 25, 26, 29, 30, 31, 32, 33 Fri 11:00 - 12:50
Lecture Offering 1 Week(s) - 20, 21, 22, 23, 24, 25, 26, 29, 30, 31, 32, 33 Fri 13:00 - 14:50
Spring