University of the West of England
MODULE SPECIFICATION
(Template revised October 2005)
Code: UACPRF-30-3 Title: Film Genres Version: 3
Level: 3 UWE credit rating: 30 ECTS credit rating: 15
Module type: Standard
Owning Faculty: Creative Arts Field: Culture and Media Studies Field Leader: J Arthurs
Valid from: April 2008 Discontinued from:
Contributes towards: Awards up to BA (Hons)
Pre-requisites: Currents in Film Theory or Hollywood or World Cinema
Co-requisites: None
Excluded combinations: None
Learning outcomes:
On completion of the module students are expected to demonstrate:
§ critical engagement with a range of genre theories (Component B, Elements 1 and 2)
§ understanding of the complex ways in which genre is constructed by and operates across industrial, popular and critical contexts (Component A)
§ critical engagement with the histories and theorisation of specific film genres (Assessment Component B, Element 2);
§ understanding of transnational aspects of film genres (Assessment Component B, Element 2);
§ the ability to develop and produce a research project on an appropriate topic (Assessment Component B, Element 2);
Syllabus outline:
The module will be divided into four blocks.
Block One considers developments in the way Film Studies has theorized genre in relation to Hollywood and other national cinemas. Block Two investigates how genre is constructed and used by different groups, such as critics, the industry and fans. Block Three focuses on issues around transnational genres, in relation to a specific genre, such as the western and spaghetti western, Hollywood and Hong Kong action movies, crimes movies and policiers, or Hollywood and British romantic comedy. Block Four also focuses on an individual genre, but takes a more text-based approach, exploring issues around conventions and representation. This could include topics such as: gender and genre; crime, race and class; westerns and imperialism; postmodern genre.
The specific genres explored will vary from year to year, depending on staff expertise, but may include eg: horror, romantic comedy, film musicals, the western, the gangster film, animation, science fiction, the Hong Kong action film, Bollywood music/action movies.
Teaching and learning methods:
A variety of learning strategies are used by this module. It will be taught through a combination of:
§ Lectures. Introducing key ideas, either explaining significant cultural and historical shifts in the development of specific genres, or introducing central critical debates about the subject area.
§ Screenings. Generally chosen to complement the relevant week’s lecture material, but usually relating to other weeks’ topic as well, to develop a comparative framework.
§ Seminars. Focused discussion of critical readings and close analysis of relevant films and other sources (e.g., film posters, trailers). Seminars will also open up wider issues for discussion, according to students’ own interests.
§ Tutorials. One-to-one meetings with seminar tutors will be available around assessment points.
§ Regular Readings which are designed to underpin and help develop critical and analytical skills.
Students will also be expected to learn through individual / personal research.
Reading Strategy:
The module handbook will make clear which readings are essential each week. A printed reading pack containing all essential readings will be made available to each student; these readings will also be available online, wherever possible. Some further readings will also be listed in the handbook, but students will also be expected to find their own further reading, particularly in developing the case studies in Blocks Three and Four. Advice on finding sources will be provided on UWEonline and in seminars and tutorials. UWEonline will also provide links to digital readings and e-resources. All recommended readings will be available via the library, and held on appropriate loan periods. Where necessary, photocopies of a range of relevant readings will be held in the library’s Short Loan collection.
Indicative Reading List:
The following list is offered to provide validation panels/accrediting bodies with an indication of the type and level of information students may be expected to consult. As such, its currency may wane during the life span of the module specification. However, as indicated above, CURRENT advice on readings will be available via other more frequently updated mechanisms.
Altman, R. (1999) Film/Genre. London: BFI
Chibnall, S & British Crime Cinema. London: Routledge
Murphy, R. (eds) (1999)
Dissanayake, W. (ed.) (2005) Melodrama and Asian Cinema. Cambridge: Cambridge University Press
Grant, B.K. (ed.) (2003) Film Genre Reader III. Austin: University of Texas Press
Kaplan, E.A. (ed.) (1998) Women and Film Noir. Second edition. London: bfi Publishing
Langford, B. (2005) Film Genre: Hollywood and Beyond. Edinburgh: Edinburgh University Press
Neale, S. (2000) Genre and Hollywood. London: Routledge
Neale, S. (ed.) (2002) Genre and Contemporary Hollywood. London: bfi Publishing
Rowe, K. (1995) Unruly Women: Gender and the Genres of Laughter. Austin: University of Texas Press
Schatz, T. (1981) Hollywood Genres: Formulas, Filmmaking and the Studio System. New York: McGraw-Hill
Assessment
Weighting between components A and B A: 25% B: 75%
ATTEMPT 1
First Assessment Opportunity
Component A
Description of each element Element weighting
1. Examination (2 hours) 25%
Component B
Description of each element Element weighting
1. Essay (2000 words) 25%
2. Project (4000 words) 50%
Second Assessment Opportunity (further attendance at taught classes is/is not required)
Component A
Description of each element Element weighting
1. Examination (2 hours) 25%
Component B
Description of each element Element weighting
1. Essay (2000 words) 25%
2. Project (4000 words) 50%
SECOND (OR SUBSEQUENT) ATTEMPT: Attendance at taught classes is not required.
Specification confirmed by …………………………………………………Date ……………………………
(Associate Dean/Programme Director)