FLMS3110: Cinema & Modern Life Part 2



Module Code: FLMS3110

Module Title: Cinema and  

Modern Life,   Part Two

Module Outline

Module Tutors:


Dr. Paul Elliott




Dr. Katie Barnett




Module Description: 

This module explores the relationship between the moving image and modernity. Using a range of different texts it looks at how film has facilitated, reflected, interrupted or otherwise affected the experience of modern life and modern living.

The student of Cinema and Modern Life will be introduced to an inter-disciplinary and comparative study of cinema that will encompass aspects of literature, philosophy and cultural studies.  They will also be encouraged to see cinema as an industry that has a constant (and changing) relationship to modernity.

Intended Learning Outcomes:

On successful completion of the module, students should be able to:

  1. identify a wide range of issues relating to film and modern life;
  2. discuss the relationship between film and ethics and film and politics;
  3. recognize how various theoretical approaches have framed the concept of the ‘new’;
  4. demonstrate how theories can be transformed into methodologies for further inquiry.
  5. Construct written work that successfully engages with both filmic and written texts.

Attendance Policy:

It is expected that you will attend all taught sessions, in the same way that attendance is expected in the workplace. Indeed regular attendance has a significant impact on student engagement, understanding and successful completion of University courses. Furthermore non-attendance will significantly affect your ability successfully to complete a module and may jeopardise your ability to undertake re-assessment in the event of failing a module.

It is your responsibility as a student, just as it would be if you were an employee, to ensure that you are punctual and that your attendance has been recorded on the register each week.

Should you, for some unavoidable reason, be unable to attend a scheduled session (for example if you are ill) then you must send an email to ihcastudentabsence@worc.ac.uk . Please include in your email  your name and student number, the module code and name, the date of the missed session, and your reason for missing it. You should make sure that you copy the module tutor into the email and also contact your module tutor to make arrangements to catch up on any work you have missed.

Notification must be received within 6 days of the date of the missed session.

Alternatively you can inform IHCA of your absence via the telephone. Please ring 01905 542015 (Shirley Adams) with the required details.

Students with two or more unexplained absences may be required to attend a tutorial/ interview with the module leader, course leader or head of division to discuss their progress.

Learning Contract:

On this module you are expected to be courteous and attentive to your fellow classmates and to the module tutor. You are also expected to undertake the required reading each week and to view the film or films under question. Failure to do either of these things will severely impede your success on the module.

The use of mobile phones will not be tolerated in classes, lectures or screenings. Please turn off all phones before the lesson starts.

Please feel free to email me with any queries you have regarding the module, I will try to reply within 3 working days. My office hours will be posted on the door of my office, however I am always open to seeing students at other times if you make an appointment.   

Please Note: There are now no screenings for this module therefore you are required to have seen the film before the session. If you have problems obtaining the film please see the module tutor. 


There will be a reader that will contain all the main readings for the module, however you should also purchase the following:

Set Texts (You should purchase these books):

Charney, L and V. Schwartz (eds). 1995. Cinema and the Invention of Modern Life. California: University of Berkeley Press.


Essential Reading (You will need to photocopy or read sections of these books):

Elsaesser, T. and A. Barker (eds). 1990. Early Cinema: Space, Frame, Narrative. London: BFI Publishing.


Further Reading (You will find these books useful):

Thompson, K. 1988. Breaking the Glass Armour. New Jersey: Princeton University Press.

Thompson, K. 1981. Eisenstein’s Ivan the Terrible: A Neoformalist Analysis. New Jersey: Princeton University Press.

Jameson, F. 1972. The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. New Jersey: Princeton University Press.

Bordwell, D. 2008. Poetics of Cinema. London: Routledge.


Module Calendar (please note, subject to change):


Week Date Film
1. Contemporary Hollywood   3/1/17 Iron Man (Jon Favreau, 2008)
Required Reading David Bordwell.  1989. “Historical Poetics of Cinema” in R. Barton Palmer (ed). The Cinematic Text. New York:  AMS Press.
Supplementary Viewing and Reading Beaty, B. 2012. “The Blockbuster Superhero” in Lucia, C; R. Grundmann & A. Simon (eds). The Wiley-Blackwell History of American Film, Vol. IV. London: Wiley Blackwell, pp. 427 – 447.

Cook, D. 2004. A History of Narrative Film. London. W.W. Norton.

David Bordwell.  2007. Poetics of Cinema. London: Routledge.

Neale, S. 1998. Contemporary Hollywood Cinema. London. Routledge.

Prince, S. 2012. “American Film After 9/11”, in Lucia, C; R. Grundmann and A. Simon (eds). The Wiley Blackman History of American Film, Volume IV, pp.

Richard Rushton and Gary Bettinson. 2010. “Film as Art: Historical Poetics and Neoformalism” in What is Film Theory?. New York: McGraw Hill.

Wyatt, J. 1994. “A Critical Redefinition: The Concept of the High Concept”, in High Concept: Movies and Marketing in Hollywood. Austin: University of Texas Press, pp. 8 – 24.

The Dark Knight (Christopher Nolan, 2008)

The Amazing Spiderman (Marc Webb, 2012)

Pacific Rim (Guillermo del Toro, 2013)

World War Z (Marc Foster, 2013)

Week Date Film
2. Contemporary Global Genres 10/1/17 Krrish (Rakesh Roshan, 2006)
Required Reading Chaudhuri, S. 2005. “Indian Cinema” in Contemporary World Cinema. Edinburgh: University of Edinburgh Press, pp. 156 – 176.
Supplementary Viewing and Reading Bose, M. 2007. Bollywood: A History. Stroud: Tempus.

Dudrah, R. and J. Desai (eds). 2008. The Bollywood Reader. Milton Keyes: The Open University.

Ganti, T. 2013. Bollywood: A Guidebook to Popular Hindi Cinema. London: Routledge.

Jha, S. K. 2005. The Essential Guide to Bollywood. New Dehli: Lustre Press.

Nochimson, M.P. 2010. “Bollywood Takes Charge”, in World on Film. London: Wiley Blackwell.

Varia, K. 2013. Bollywood: Gods, Glamour and Gossip. London: Wallflower.

Koi…Mil Gaya (Rakesh Roshan, 2003)

Krrish 3 (Rakesh Roshan, 2013)

Channai Express (Rohit Shetty, 2013)

End of Semester One
Week Date Film
3. Contemporary British Cinema 31/1/17 The Arbor (Clio Barnard, 2010)
Required Reading


Fitzgerald (2010), “Neo-Realism”, Studying British Cinema 1999-2009 (London: Auteur)
Supplementary Viewing and Reading Leggott, J (2009), “Women in Contemporary British Cinema”, in Contemporary British Cinema (London: Wallflower), pp.1-5.

Brown, G., (2009) ‘Paradise Found and Lost: The Course of British Realism’ in Murphy (ed.), The British Cinema Book (London: BFI), pp. 28-38

Forrest, David. 2013. Social Realism: Art, Nationhood and Politics. Cambridge: Cambridge Scholars Publishing.

This is England (Meadows, 2006)

Red Road (Arnold, 2006)

The Selfish Giant (Barnard, 2013)

Week Date Film
4. Contemporary Scandinavian Cinema 7/2/17 Force Majeure (Ruben Östlund, 2014)
Required Reading


Marklund, A. 2008. “Can Anyone Help These Men? A Portrait of Men in Successful Contemporary Scandinavian Cinema.” Film International 35, pp.50-58.
Supplementary Viewing and Reading Dyer, R. and G. Vincendeau. 1992. Popular European Cinema. London: Routledge.

Elsaesser, T. 2012. “European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and Beau Travail.” New Literary History 43:4, pp.703-725.

Karlsson, H. 2014. “Ruben Östlund’s Play (2011): Race and Segregation in ‘good’ liberal Sweden.” Journal of Scandinavian Cinema 4:1, pp.43-60.

Wallengren, A. 2008. “Hollywood in Sweden: Cinematic References Imagining America.” Film International 35, pp.42-49.

Under the Sun (Colin Nutley, 1998)

The Man Without a Past (Aki Kaurismäki, 2002)

After the Wedding (Susanne Bier, 2006)

Play (Ruben Östlund, 2011)

Week Date Film
5. Nollywood 14/2/17 Last Flight to Abuja (Obi Emelonye, 2012)
Required Reading


Jedlowski, A. 2013. “From Nollywood to Nollyworld: Processes of Transnationalization in the Nigerian Video Film Industry” in Krings, M. and O. Okome (eds). Global Nollywood. Bloomington: Indiana University Press, pp. 25-45.
Supplementary Viewing and Reading Barrot, P. 2011. Nollywood: The Video Phenomenon in Nigeria. London James Currey.

Krings, M. and O. Okome (eds). Global Nollywood. Bloomington: Indiana University Press.

Lobata, R. 2010. Shadow Economies of Cinema. London: BFI.

Miller, J. 2016. Nollywood Central. London: BFI.

Saul, M. and R. Austen (eds). 2010. Viewing African Cinema in the Twenty First Century. Columbus: Ohio University.

Osuofia in London (Ogoro, 2003)

Contract (Shirley Frimpong-Manso, 2012)

30 Days in Atlanta (Robert Peters, 2014)

Week Date Film
6. New Iranian Cinema 21/2/17 A Moment of Innocence [Nun Va Goldoon] (Mohsen Makhmalbaf, 1996)
Required Reading Gow, C. 2011. “Putting the ‘New’ in the New Iranian Cinema” in From Iran to Hollywood and Some Places in Between. London: IB Tauris, pp. 9-60.
Supplementary Viewing and Reading Dabashi, H. 2007. Masters and Masterpieces of Iranian Cinema. London: Mage Publishers.

Dabashi, H. 2007. Mohsen Makhmalbaf at Large. London: IB Tauris.

Sadr, H.R. 2006. Iranian Cinema: A Political History. London: IB Tauris.

Sheibani, K. 2011. The Poetics of Iranian Cinema. London: IB Tauris.

Tapper, R. 2002. The New Iranian Cinema: Politics, Representation and Identity. London; IB Tauris.

Close Up (Kiarostami, 1990)

The Apple (Makhmalbaf, 1998)

The Wind Will Carry Us (Kiarostami, 1999)

Taxi Tehran (Jafar Panahi, 2015)

Week Date Film
7. New Korean Cinema 28/2/17 Old Boy (Park Chan Wook, 2003)
Required Reading Paquet, D. 2009. “Introduction” and “A New Society” in New Korean Cinema: Breaking the Waves. London: Wallflower.
Supplementary Viewing and Reading Kim, K.H. 2004. The Remasculinization of Korean Cinema. New York: Duke University Press.

Lee, H. 2013. Contemporary Korean Cinema: Culture, Identity, Politics. Manchester: MUP.

Stringer, J.  and Shin, C. (eds). 2005. New Korean Cinema. Edinburgh: EUP.

Yecies, B. and Shim, A. 2015. The Changing Face of Korean Cinema: 1960 – 2015. London: Routledge.

Joint Security Area (Park Chan Wook, 2000)

Sympathy for Mister Vengeance (Park Chan Wook, 2002)

Memories of Murder (Joon-ho Bong, 2003)

Old Boy (Spike Lee, 2013)

Week Date Film
8. Slow Cinema 7/3/17 Meek’s Cutoff (Kelly Reichardt , 2010)
Required Reading  Jaffa, I. 2014. “Introduction”, in Slow Movies: Countering the Cinema of Action. London; Wallflower, pp. 1-14.
Supplementary Viewing and Reading Balint Kovacs, A. 2013. The Cinema of Bela Tarr: The Circle Closes. London: Wallflower.

Horton, A. 1999. The Films of Theo Angelopoulos: A Cinema for Contemplation. Cambridge: Princeton University Press.

Lim, S.H. 2014. Tsai Ming-Liang and a Cinema of Slowness. Honolulu: University of Hawai’I Press.

Wahlberg, M. 2008. Documentary Time: Film and Phenomenology. Minneapolis: University of Minnesota Press.

Satantango (Bela Tarr, 1994)

Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010)

Two Years at Sea (Ben Rivers, 2011)

Week 9 (14/3/17): Presentation Preparation Week
Week 10 (21/3/17): Presentation Week
Week Date Film
11. The Death of Film 28/3/17 L’histoire(s) du Cinema (Godard, 1988 – 2004)
Required Reading Enticknap, L. 2005. “Film” in Moving Image Technology. London: Wallflower, pp. 4-29.
Supplementary Viewing and Reading Bordwell, D.; J. Staiger and K. Thompson. 1988. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge.

Enticknap, L. 2013. Film Restoration: The Culture and Science of Audiovisual Heritage. New York: AIAA.

Salt, B. 2009. Film Style and Technology: History and Analysis. New York: Starword.

Utterson, A. (ed). 2005. Technology and Culture: The Film Reader. London: Routledge.

Witt, M. 2014. Jean Luc Godard, Cinema Historian. Bloomington: Indiana University Press.

Decasia (Morrison, 2002)

Light is Calling (Morrison, 2004)

The Story of Film (Cousins, 2011)

Week Date Film
12. The Birth of Digital 4/4/17 Toy Story (Lasseter, 1995)
Required Reading Brown, W. 2013. “Introduction”, in Supercinema. London: Berghahn Books.
Supplementary Viewing and Reading Casetti, F. 2015. The Lumiere Galaxy: Seven Key Words for Cinema to Come. New York: Columbia University Press.

Gaudreault, A. and P. Marion. 2015. The End of Cinema? A Medium in Crisis in the Digital Age. New York: Columbia University Press.

Rodowick, D.N. 2007. The Virtual Life of Film. Cambridge: Harvard University Press.

Rombes, N. 2012. Cinema in the Digital Age. London: Wallflower Press.

Waking Life (Linklater, 2001)

A Scanner Darkly (Linklater, 2006)

Toy Story 3 (Lasseter, 2010)

Week Date Film
13. What is the Future of Film? 25/4/17 No Film – Clips from Ephemeral texts will be shown
Required Reading Burgess, J. and J. Green. 2009. “How Youtube Matters”, in Youtube: Online Video and Participatory Culture. London: Polity Press, pp. 1-15.
Supplementary Viewing and Reading Grainge, P. (ed). 2011. Ephemeral Media: Transitory Screen Culture From Television to Youtube. London: BFI.

Holt, J. 2014. Connected Viewing: Selling, Streaming and Sharing in the Digital Age. London: Routledge.

Iordanova, D. and S. Cunningham (eds). 2013. Digital Disruption: Cinema Moves Online. Edinburgh: St Andrews Press.

Juhasz, J. 2010.”Documentary on YouTube: The Failure of the Direct Cinema of the Slogan” in Austin, T and W. de Jong (eds). Rethinking Documentary – New Perspectives, New Practices. New York: McGraw Hill, pp.299 – 312.

Tryon, C. 2013. On Demand Culture: Digital Delivery and the Future of Movies. New Brunswick: Rutgers University Press.

Week Date Film
14. 2/5/17 Strange Days (Bigelow, 1995)
Required Reading No Reading
Supplementary Viewing and Reading  



 Assignment Two: Presentation:

 You should prepare and present a presentation of around 10 minutes on ONE contemporary film movement. This could be one that we have covered in the module or one you have identified yourself. Your presentation should contain at least ONE clip that will discuss.

Length: 10 minutes
Presentation Date: Tuesday 21st March 2017

Assignment Three: Essay:

You are expected to write an essay of 2000 words on a topic in the second half of the module. Your essay should be negotiated with the module leader and should be based around at least TWO films.

Length: 2000 words
Submission Date: Friday 12th May 2017


Every effort will be made to make the films available for you to watch. However, it is your responsibility to ensure that you have seen the texts being discussed. You can source many of the films on Netflix, Amazon Instant or You Tube, however there may be some DVD purchase necessary. In that instance, you will be informed well ahead of time.

The DVD Library:

The DVD library for FLMS3110 – Cinema and Modern Life is held in my office (BB113). All DVDs are available for a short term loan (1 day). You can view the film in the Pierson or on your own laptop but you must return the DVD on the day of the loan.