What can film reveal about art, architecture and the city? There is a multitude of possible answers—and possible dissertations—depending on the discipline in question and on the works examined. Film has used architecture for its symbolic power (Jia Zhangke), or to convey ideas about individual and collective memory (Allain Resnais), or as an artificial setting which imposes moods and alters the course of stories (Michelangelo Antonioni).
On the other hand, filmmakers have for a long time refrained from filming paintings, but recent films, like Jem Cohen’s Museum Hours, are beginning to break this taboo and to recognize some of the hidden possibilities in the relationship.
Looking at it from the opposite end, we see that lately architects have recognized film as a useful tool in exploring or explaining architecture; fine artists increasingly turn to film to accompany exhibition pieces or installations; performance arts challenge their own boundaries by incorporating projections, etc. In other words, film may be the most reliable agent for the reincarnation of the Baroque dream to consolidate various art forms and integrate them in the fabric of society—not least because of its political power (see Benjamin).
Books
1. Benjamin, Walter, Illuminations: Essays and Reflections, English Language edition (New York: Schocken, 1969)
2. Boyer, M. Christine, The City of Collective Memory: Its Historical Imagery and Architectural Entertainments, 1st tr pbk edition (Cambridge, Mass.: The MIT Press, 1996)
3. Foster, Gwendolyn Audrey, Identity and Memory: The Films of Chantal Akerman (Trowbridge, Wiltshire, Eng.: Flicks Books, 1999)
4. Kracauer, Siegfried, Theory of Film (Princeton, N.J.: Princeton University Press, 1997)
5. Sontag, Susan, Against Interpretation: And Other Essays, 1st edition (New York, N.Y.: Picador, 2001)
Films
1. Akerman, Chantal, Chantal Akerman Collection (Cinéart, 2007)
2. Cohen, Jem, Museum Hours (Soda Pictures, 2014)
3. Jia, Zhangke, The World (Eureka Entertainment Ltd, 2012)
4. Resnais, Alain, Hiroshima Mon Amour (Optimum Home Entertainment, 2011)
Module summary
The module is framed in terms of a dissertation. The student undertakes a genuine and worthwhile enquiry into a topic of his or her own choice and, based on this enquiry, develops an extended critical study. The module involves individual supervision designed to support the student’s ambitions and confidence in becoming an independent learner, building on techniques and knowledge developed in previous years, and providing scope for initiative and development. The dissertation demonstrates the student’s ability to thoroughly research a topic, use appropriate methods of investigation, and work methodically and productively.
The subject matter of the dissertation can be theoretical, technical, or historical, and should be closely related to the student’s main field of study. It may be envisaged as one of several different types: for example, visual, technical or other non-written material may form the subject of the enquiry and comprise an integral part of the whole; the dissertation may be professionally oriented and include field-work; or it might be academic and theoretical in its source material and methodology.
Students may develop their topic independently or, as an option, within a specific dissertation Interest Group. The Interest Groups provide the equivalent of a block of taught programme. They are offered on an annual basis and incorporate:
• research based specialisms
• areas of scholarly interest in history and theory
• industry related practice
• workshop, digital or media based technical studies
Prior learning requirements
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