Last modified: 31 May 2022 13:05
This course explores how cinema has interacted with war, beginning with Kracauer's theory of the collective unconscious during the post-World War 1 period of Germany before discussing Bazin's approach to Italian neorealism and its provocative post-fascist landscapes. Since the genesis of cinema, armed conflict has been a recurring topic for fiction filmmakers and this module will question how and why key representations have emerged. This approach will include challenging the presentation of European Empires, the frequent jingoism and Orientalism of Hollywood's Vietnam War, China's contemporary "Wolf Warrior" blockbusters and the more recent attempts to readdress colonial or military presence in Africa. Contextualising the study of film with a concurrent understanding of geopolitics and cultural changes, this module will also offer students a study in past and present as well in formative, historical, psychological and realist approaches to cinema.
| Study Type | Undergraduate | Level | 4 |
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| Term | First Term | Credit Points | 30 credits (15 ECTS credits) |
| Campus | Aberdeen | Sustained Study | No |
| Co-ordinators |
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This course explores how cinema has interacted with war, beginning with Kracauer's theory of the collective unconscious during the post-World War 1 period of Germany before discussing Bazin's approach to Italian neorealism and its provocative post-fascist landscapes. Since the genesis of cinema, armed conflict has been a recurring topic for fiction filmmakers and this module will question how and why key representations have emerged. This approach will include challenging the presentation of European Empires, the frequent jingoism and Orientalism of Hollywood's Vietnam War, China's contemporary "Wolf Warrior" blockbusters and the more recent attempts to readdress colonial or military presence in Africa. Contextualising the study of film with a concurrent understanding of geopolitics and cultural changes, this module will also offer students a study in past and present as well in formative, historical, psychological and realist approaches to cinema.
Information on contact teaching time is available from the course guide.
| Assessment Type | Summative | Weighting | 40 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback | ||||
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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| Assessment Type | Summative | Weighting | 40 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback | Word Count | 2500 | ||
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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| Assessment Type | Summative | Weighting | 20 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback | ||||
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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There are no assessments for this course.
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Conceptual | Understand | Students will use appropriate methodologies and synthesise ideas drawn from a variety of sources |
| Reflection | Apply | Students will participate in reflective discussion and lead seminar discussion |
| Procedural | Create | Students will produce high-quality analytical work, engaging critically with the topics studied. |
| Conceptual | Evaluate | Students will develop knowledge by reading dream films closely, identifying parallels and differences in terms of styles, genres and techniques. |
| Conceptual | Understand | Students will gain knowledge and understanding of the various ways in which the relationship between cinema and dream relate to film/dream analogy. |
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