Learning Outcomes
At the end of the semester, the student will be able to:
1. recognize and analyze the distinctive characteristics of the main film movements, different national cinemas and/or movements and genres,
2. identify and explain the respective sociopolitical conditions that shape the cinematic outcome, and
3. conduct bibliographic research and compose an academic essay.
Course Content (Syllabus)
The course provides a concise overview of the history of cinema from the late 19th century up to 2000. Specifically, it discusses: the conditions under which cinema as a medium was formed, the silent era (formation of the classical narrative model, German Expressionism, French Impressionism, and Soviet Montage), the Golden Age of Hollywood (1930–1948) and film genres, the New Waves and New Cinemas (1958–1980), Greek Cinema up to 1970, New Hollywood and its main representatives, as well as the changes in film production, distribution, and technology. Emphasis is placed on the impact of historical, socioeconomic, and political conditions on film production and distribution. Finally, the methodological tools of the New Film History are examined, and the rules of academic research and essay writing are taught.
Keywords
history, development, first steps, movements, silent, poetic realism, genre
Description
The various teaching techniques used in the course aim at a deeper understanding of the material, the active participation of students in the class, and smooth, two-way communication between instructor and students. The lecture is accompanied by an audiovisual presentation (PowerPoint), where images, graphs, and other elements serve as visual aids. In addition to film clip screenings, further audiovisual material is employed (e.g., video essays, interviews with figures from the film/television industry, relevant documentaries, etc.), with the goal of enriching the topic under discussion. Thus, the teaching techniques are aligned with the methodologies of New Film History, which takes into account all sources (beyond the film text itself) that can shed light on the multidimensional nature of the medium.
The practical part of the course is organized with the aim of students’ active participation in the learning process. Through questions posed by the instructor, each student or group of students is asked to formulate an argument, an interpretation, or a critical observation based on a specific excerpt, film movement/genre, etc. The use of technology (mobile phones, tablets, and laptops, but not AI at this stage) is encouraged for the search of information and other sources. In this way, students are guided to make use of technologies and effectively use the internet to search for reliable sources. At the same time, they are introduced to the concept of historical research and the active production of knowledge, while practices of teamwork and collaboration are fostered.
In the event that classes must be conducted remotely due to extraordinary circumstances, the platforms Google Meet or Zoom will be used, along with all the features they offer (screen sharing for document and PowerPoint presentations, link sharing, chat, etc.).
Additionally, e-learning is used in the course as a repository for all material and for interaction/collaboration.
Description
The student is assessed through an individual written assignment (an academic essay of 1,500–2,000 words with at least three (3) academic sources, 85%) and class attendance and participation (15%).
Students have the opportunity to secure extra credit through participation in weekly small projects, either individual or group, which will be assigned in each class and/or presented in class (maximum number of projects per student: 3, grade per project: 0.5–1/10).
The evaluation criteria for the essay are as follows:
- Structure = 1.5/10
- Language (grammar, syntax, spelling) = 1.5/10
- Formatting = 1/10
- Content:
A. Clear objective / thesis statement / research question
B. Context / historical-social framework
C. Appropriate/sufficient bibliography / correct citations / originality / argumentation = 6/10
Course Bibliography (Eudoxus)
Corrigan, Timothy & Patricia White. H εμπειρία του κινηματογράφου. Μια εισαγωγή. Mτφ. Δ. Αλεξανδρή, επιστ. επιμ. Δέσποινα Κακλαμανίδου. Αθήνα: Κλειδάριθμος, 2024.
Κακλαμανίδου Μπέτυ (επιμ.) Μαρία Πλυτά: Η πρώτη σκηνοθέτρια του ελληνικού κινηματογράφου. Αθήνα: Κλειδάριθμος, 2025.
Κακαβούλια Μαρία και Περικλής Πολίτης (επιμ.). Αφήγηση: Μια πολυεπιστημονική θεώρηση. Αθήνα: Δάρδανος, 2022.
Kristin Thompson & David Bordwell. Ιστορία του Κιν/φου. Μια Εισαγωγή. Μτφ. Ν. Λερός & Ρ. Καλαΐτη. Αθήνα: ΜΙΕΤ, 2011.
Additional bibliography for study
Pinel, Vincent. Σχολές, Κινήματα & Είδη στον Κινηματογράφο. Mμφ. Μ. Καρρά, (επιμ.) Χ. Δερμεντζόπουλος. Αθήνα : Μεταίχμιο, 2004.
Σκοπετέας, Γιάννης. Η Δημιουργία της Μυθοπλαστικής Αφήγησης και τα Είδη των Κινηματογραφικών Ταινιών, 2016. https://repository.kallipos.gr/bitstream/11419/5729/1/00_master_document.pdf
Στεφανή, Εύα. Δέκα Κείμενα για το Ντοκιμαντέρ. Αθήνα: Πατάκης, 2007.