Spring 2024, CairoShort Course
Film Theory (Contemporary)
Course details
- Cycle
- Spring 2024, Cairo
- Length
- 6 weeks
- Format
- In person
- Taught in
- English
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About the course
Film theory is the study of general patterns used to create and articulate film language. It differs from film history and film analysis. Film history is concerned with the study of major milestones in the progress of the filmmaking industry; and film analysis is the study of film against aesthetics, semiotics, socio-political aspects… etc.
Generally, film theory is divided into two main eras: Classic, and Contemporary film theory. Classic film theory started at the beginning of the twentieth century. Theorists were focused on the answers to the questions “Is cinema an art?” and “How is cinema different from other arts?” Contemporary theorists took over from the century’s sixties, after the establishment of the film as a defined significant art. Their study was a deeper one on how film language works, and the ideologies behind filmmaking.
Our course focus will be on Contemporary film theory. We will study the philosophy behind film language. How film forms meaning? We will relate such reading to Structuralism and the French 60s humanities scholars. Then we will explore questions about how cinema is used, and the suspicion around its ideologies. This part can be identified as a critical study of Cinema.
Who teaches it
Mohamed Hani earned his MA degree in adult learning and global change from Linkoping University in Sweden in 2022. He works as a learning and development consultant, writer, and a translator. He published a short story collection in 2021, and an Arabic translation of Truman Capote’s short stories collection. As for film discipline, he published several film critic essays on Almanassa and Medina platforms. His essays are usually a thematic analysis of filmmakers’ works against film theory. He is mainly interested in the evolution of film language, and development of film art from a formalistic perspective.
From the fellow Method: The course follows a social constructivist approach to learning. The instructor will guide participants in discussing and expressing their understanding of the weekly assigned reading and watch lists. Participants will collaborate and complement their understanding through questioning and elaborating. And by the end of the course, they will be assigned essay writing to reflect on their learning.
Course flow
Sessions without a date
Participants will be introduced to film theory. They will get familiar with the course flow and learning method. They will read and reflect on two articles about structuralism, which will pave the way into understanding the theorists’ approach.
- Meaning and Structure- Meaning
- Meaning and Structure- Structuralism
Christian Metz is a founder of the Contemporary film theory. We’ll be introduced to his studies on how film creates meaning like language does. We’ll discuss the similarities and differences between film language structure and linguistic languages. We’ll learn about visual denotations and its significance.
- Some points in the semiotics of CinemaChristian Metz
- Imaginary/Symbolic/Real
In class
- DiscussionWe’ll discuss the similarities and differences between film language structure and linguistic languages.
Through Metz’s perspective, Gilles Deleuze analyzes his view on film. He categorizes films into two main styles. One is subject to active progression and the other is subject to the feel of time. Participants will reflect on both the narrative styles and Cinematic representations of both styles.
- The movement imageCh1, Ch2, Ch4; Gilles Deleuze. Week 3
- The Time imageCh1, Ch2; Gilles Deleuze. Week 4
In class
- DiscussionParticipants will reflect on both the narrative styles and Cinematic representations of both styles.
The question of why cinema is so pleasant for the audience and how we identify with the screen are the topic of discussion. Jean-louis Baudry’s theory relates renaissance to modern art’s influence and engagement with the spectators.
- Ideological effects of the basic cinematographic apparatusJean-Louis Baudry
In class
- DiscussionThe question of why cinema is so pleasant for the audience and how we identify with the screen are the topic of discussion.
This session is recognition of the cinema social role and its relation to the masses. The participants will discuss nature of Cinema from a Marxist angle. Our reference will be the works of Walter Benjamin in studying the economic influence on Film.
- The work of art in the age of mechanical reproductionWalter Benjamin
In class
- DiscussionThe participants will discuss nature of Cinema from a Marxist angle.
Another critical approach in Cinema studies. The analysis of meaning constructed in film from a feminist perspective. The study of Mulvey’s male gaze established in Cinema will be our focus in criticizing women’s role and presentation in Cinema.
- Visual pleasure and narrative cinemaLaura Mulvey
Course reading list
- The ShiningChapter 1; Stanley Kubrick
- PickpocketChapter 1; Robert Bresson
- L’ EclisseChapter 2; Michelangelo Antonioni
- NostalgiaChapter 2; Andrei Tarkovsky
- Bewitched loveChapter 3; Carlos Saura
- BreathlessChapter 3; Jean-luc Godard
- It’s a wonderful lifeChapter 4; Frank Capra
- Panthar PanchaliChapter 4; Satyajit Ray
- Jeane DilemannChapter 5; Chantal Akerman
- Taxi DriverChapter 5; Martin Scorsese
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