|Title||ΘΕΩΡΙΑ ΚΙΝΗΜΑΤΟΓΡΑΦΟΥ VI / FILM THEORY VI|
|Cycle / Level||1st / Undergraduate, 3rd / Doctorate|
Programme of Study: UPS of School of Film Studies (2009-2013)
Registered students: 13
|Core||Elective Courses beloging to the selected specialization||8||4||5|
|Academic Year||2019 – 2020|
|Class ID|| |
Type of the Course
- Scientific Area
- Skills Development
Knowledge Deepening / Consolidation
Mode of Delivery
- Face to face
Digital Course Content
- e-Study Guide https://qa.auth.gr/en/class/1/600154535
The course is also offered to exchange programme students.
Language of Instruction
- Greek (Instruction, Examination)
Students will be able to analyze, process and build on the arguments around the three key issues of this course, namely postmodern, post-classical and post-colonial cinema.
- Retrieve, analyse and synthesise data and information, with the use of necessary technologies
- Work autonomously
- Work in an interdisciplinary team
- Generate new research ideas
- Be critical and self-critical
- Advance free, creative and causative thinking
Course Content (Syllabus)
In this course we discuss a number of contemporary theories from 1970s onwards. The three key conceptual domains in the literature are the postmodern, post-classical and post-colonial discourse through the writings of a wide range of acclaimed scholars. By discussing and analyzing a selection of films from World cinema, we aim to explore questions such as “what are the arguments of the postmodern turn in theory and practice,” “what are the changes in American and international cinema after the exhaustion of the norms of classical storytelling,” and “what is the relation of post-colonial nations with the cinema in an increasingly globalized creative environment.”
postmodern, post-classical, post-colonial
Educational Material Types
Use of Information and Communication Technologies
Use of ICT
- Use of ICT in Course Teaching
- Use of ICT in Communication with Students
In the syllabus I explain the grading criteria, which include the oral presentation of the research paper and the final paper. The oral presentation is not graded on its own but it is a requirement for the submission of the paper. The final written paper corresponds to the 100% of the grade.
Student Assessment methods
- Written Assignment (Summative)
- Performance / Staging (Formative)
Course Bibliography (Eudoxus)
Επιλογή Συγγραμμάτων Βιβλίο : Το Μεταμοντέρνο, Φρέντρικ Τζαίημσον Λεπτομέρειες Επιλογή Συγγραμμάτων Βιβλίο : Η μεταμοντέρνα κατάσταση (δεμ.) , Ζαν Φρανσουά Λυοτάρ Λεπτομέρειες Επιλογή Συγγραμμάτων Βιβλίο : Μεταποικιακή θεωρία, Young Robert J. C.
Additional bibliography for study
Bolter, Jay David and Richard Grusin (1999), Remediation: Understanding New Media (Cambridge, MA: MIT Press). Bordwell, David (2002b), ‘Intensified continuity: visual style in contemporary American film’, Film Quarterly, 55, 3: 16-28. Carroll, Noel (1998), ‘The future of allusion: Hollywood in the seventies (and beyond)’, in Interpreting the Moving Image (Cambridge: Cambridge University Press): 240-64. Collins, Jim (1989), Uncommon Cultures: Popular Culture and Post-Modernism (London: Routledge). ──── (1993), ‘Genericity in the nineties: eclectic irony and the new sincerity’, in Jim Collins, Hilary Radner, and Ava Preacher Collins (eds), Film Theory goes to the Movies (London: Routledge): 242-263. Conley, Tom (2000), ‘Noir in the red and the nineties in the black’, in Wheeler Winston Dixon (ed.), Film Genre 2000: New Critical Essays (New York: State University of New York Press): 193-210. Degli-Esposti, Christina (ed.) (1998), Postmodernism in the Cinema (New York: Berghahn Books). Denzin, Norman (1991), Images of Postmodern Society: Social Theory and Contemporary Cinema (London: Sage). Elsaesser, Thomas (1998b), ‘Specularity and engulfment: Coppola and Bram Stoker’s Dracula’, in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema (London: Routledge): 191-207. Friedberg, Anne (1993), Window Shopping: Cinema and the Postmodern (Berkeley and Los Angeles: University of California Press). Friedberg, Anne (1993), Window Shopping: Cinema and the Postmodern (Berkeley and Los Angeles: University of California Press). ──── (2000), ‘The end of cinema: multi-media and technological change’, in Christina Gledhill and Linda Williams (eds), Reinventing Film Studies (London: Arnold): 438-452. Hutcheon, Linda (1988), A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge). ──── (1990), ‘An epilogue: postmodern parody: history, subjectivity and ideology’, Quarterly Review of Film and Television, 12: 125-33. Jameson, Fredric (1983), ‘Postmodernism and consumer society’ in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture (Seattle: Bay Press): 111-125. King, Geoff (2000), Spectacular Narratives: Hollywood in the Age of the Blockbuster (London and New York: I.B. Tauris). Kramer, Peter (1998), ‘Post-classical Hollywood film: concepts and debates’, in John Hill and Pamela Church Gibson (eds), The Oxford Guide to Film Studies (Oxford: Oxford University Press): 289-309. Manovich, Lev (2001), The Language of New Media Cambridge (Mass.: The MIT Press). Neale Steve and Murray Smith (eds) (1998), Contemporary Hollywood Cinema (London: Routledge). Nichols Bill (1994), Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington and Indianapolis: Indiana University Press). Sharrett, Christopher (1990), ‘No more going back and forth as in the past: notes on the fate of history in recent European films’, Persistence of Vision, 8: 29-44. Tasker, Yvonne (1996), ‘Approaches to the New Hollywood’, in James Curran, David Morley, and Vivien Walkerdine (eds), Cultural Studies and Communications (London: Arnold): 213-28.