Outline

Overview

What is the cinematic experience today, in an age of fragmented audiences and multiple platform delivery? Taking the film festival as its central case study, this unit examines the festival as a cultural institution, as a site for the making of film history, and as a scene of the curious mixture of the festive and the cerebral, the sensual and the serious.

Unit details and rules

Academic unit	Film Studies
Credit points	6
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	Susan Potter, susan.potter@sydney.edu.au

Type	Description	Weight	Due	Length
Assignment	Research essay n/a	60%	- Due date: 13 Nov 2022 at 23:59	4000 words
Outcomes assessed:
Presentation	Presentation 1 n/a	20%	Multiple weeks	1000 words
Outcomes assessed:
Presentation	Presentation 2 n/a	20%	Multiple weeks	1000 words
Outcomes assessed:

Assessment summary

Detailed information for each assessment can be found on Canvas.

Assessment criteria

The University awards common result grades, set out in the (Schedule 1).

As a general guide, a High distinction indicates work of an exceptional standard, a Distinction a very high standard, a credit a good standard, and a pass an acceptable standard.

Result name	Mark range	Description
High distinction	85 - 100	听
Distinction	75 - 84	听
Credit	65 - 74	听
Pass	50 - 64	听
Fail	0 - 49	When you don鈥檛 meet the learning outcomes of the unit to a satisfactory standard.

听

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the .

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the .

Outside assessment tasks, generative AI tools may be used to support your learning. The contains a number of productive ways that students are using AI to improve their learning.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a听simple extension.鈥� The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can鈥檛 complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for听special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students,听听includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Weekly schedule

WK	Topic	Learning activity
Week 01	Introduction	Seminar (2 hr)
Week 02	The cinematic experience now鈥�2gather-a-part co-vid exquisite corpse series	Seminar (2 hr)
Week 03	Excavating cinema鈥檚 mobile virtual gaze鈥擯iccadilly (E. A. Dupont, UK, 1929)	Seminar (2 hr)
Week 04	Cinematic assemblages鈥擣aces Places (Agn猫s Varda and JR, France, 2017)	Seminar (2 hr)
Week 05	World cinema and the festival鈥擳he World (Jia Zhangke, China, 2004)	Seminar (2 hr)
Week 06	Queer cinema in the world鈥擟ircumstance (Maryam Keshavarz, France/US/Iran, 2011)	Seminar (2 hr)
Week 07	Portable cinema鈥攖est reels, smartphone media, the Internet	Seminar (2 hr)
Week 08	Microcinema鈥擧ale County This Morning, This Evening (RaMell Ross, US, 2018)	Seminar (2 hr)
Week 09	Cinematic milieu鈥擠omitilla I (DAAR Communication, Nigeria, 1996)	Seminar (2 hr)
Week 10	Reading week鈥攖heses due end of the week	Seminar (2 hr)
Week 11	Cinematic milieu鈥攕ite visit tba	Seminar (2 hr)
Week 12	Room for play鈥擳oni Erdmann (Maren Ade, Germany, 2016)	Seminar (2 hr)
Week 13	Research essay workshop	Seminar (2 hr)

Attendance and class requirements

Attendance: According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 90% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner鈥檚 Board. The Examiner鈥檚 Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold.
Preparation: Students should commit to spend approximately three hours鈥� preparation time (reading, studying, homework, essays, etc.) for every hour of scheduled instruction.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

DETAILED SCHEDULE OF READINGS & FILMS

Note: films and readings are indicative and may be revised.

1 Introduction

No screening. No reading.

2 The cinematic experience now鈥�2gather-a-part co-vid exquisite corpse series (https://vimeo.com/showcase/7024910)

Gaudreault, Andr茅, and Philippe Marion. 鈥淐hapter One: Cinema Is Not What It Used to Be.鈥� The End of Cinema?: A Medium in Crisis in the Digital Age. The End of Cinema? Columbia University Press, 2015.

Thain, Alanna, and Dayna McLeod. 鈥淐inema鈥檚 Missing Bodies.鈥� Framework 62, no. 2 (2021): 223鈥�41. Click on the QR codes in the essay to access all audio files.

SUPPLEMENTARY

Hansen, M. 鈥淓arly Cinema, Late Cinema: Permutations of the Public Sphere.鈥� Screen 34, no. 3 (1993): 197鈥�210.

Casetti, Francesco. The Lumi猫re Galaxy: Seven Key Words for the Cinema to Come. New York: Columbia University Press, 2015.

3 Excavating cinema鈥檚 mobile virtual gaze鈥�Piccadilly (E. A. Dupont, UK, 1929)

Friedberg, Anne. Chapter One 鈥淭he mobilized and virtual gaze in modernity: Fl芒neur/flaneuse,鈥� 15-38, in Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.

Friedberg, Anne. Chapter Two 鈥淭he passage from arcade to cinema,鈥� 47-94, in Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.

SUPPLEMENTARY

Shohat, Ella and Robert Stam. 鈥淭he Imperial Imaginary.鈥� In Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994).

鈥淰ictorian Popular Culture - Adam Matthew Digital.鈥� Accessed July 13, 2021. . See the Quick Link on the home page to the 鈥淥ptical Entertainments鈥� digital exhibition.

4 Cinematic assemblages鈥�Faces Places (Agn猫s Varda and JR, France, 2017)

Casetti, Francesco. 鈥淎ssemblage.鈥� In The Lumi猫re Galaxy: Seven Key Words for the Cinema to Come. New York: Columbia University Press, 2015.

Martin, Adrian. 鈥淭urn the Page: From Mise En Sc猫ne to Dispositif.鈥� Screening the Past (2011)

SUPPLEMENTARY

Agamben, Giorgio. 鈥淲hat Is an Apparatus?鈥� In What Is an Apparatus? And Other Essays, 1鈥�24. Stanford, CA: Stanford University Press, 2009.

5 World cinema and the festival鈥�The World (Jia Zhangke, China, 2004)

Andrew, Dudley. 2009. 鈥淭ime Zones and Jet Lag: The Flows and Phases of World Cinema.鈥� In World Cinemas, Transnational Perspectives, edited by Nata拧a Durovicov谩 and Kathleen E. Newman. Taylor & Francis.

de Valck, Marijke. 鈥淐annes and the Alternative Cinema Network: Bridging the Gap between Cultural Criteria and Business Demands,鈥� 85-121. In Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press, 2007. 36pp eBook

SUPPLEMENTARY

Appadurai, Arjun. 鈥淐hapter 2: Disjuncture and Difference in the Global Cultural Economy,鈥� 27-47. In Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, 1996.

La Dolce Vita (Federico Fellini, Italy, 1960)

6 Queer cinema in the world鈥�Circumstance (Maryam Keshavarz, France/US/Iran, 2011)

Schoonover, Karl, and Rosalind Galt. 鈥淚ntroduction.鈥� In Queer Cinema in the World. Durham: Duke University Press, 2016.

Schoonover, Karl, and Rosalind Galt. Chapter 2 鈥淎 Worldly Affair: Queer Film Festivals and Global Space.鈥� In Queer Cinema in the World. Durham: Duke University Press, 2016.

SUPPLEMENTARY

Robertson, Roland. 鈥淕localization: Time-Space and Homogeneity-Heterogeneity.鈥� In Global Modernities, 25鈥�44. Edited by Mike Featherstone, Scott Lash & Roland Robertson. London: SAGE Publications, 1995.

Juhasz, Alexandra, and Ming-Yuen S. Ma. 鈥淨ueer Media Manifestos.鈥� GLQ: A Journal of Lesbian and Gay Studies 19, no. 4 (2013): 559鈥�74. [e-journal]

7 Portable cinema鈥攖est reels, smartphone media, the Internet

Wasson, Haidee. 鈥淚ntroduction: Portability and Projectability鈥� and Chapter 4 鈥淧ortable Projects and the Electronic Age.鈥� Everyday Movies: Portable Film Projectors and the Transformation of American Culture. Berkeley: University of California Press, 2020.

Kn枚rer, Ekkehard. 鈥淢ovable Images on Portable Devices.鈥� In Screen Dynamics: Mapping the Borders of Cinema, edited by Gertrud Koch, Volker Pantenburg, and Simon Roth枚hler, 169鈥�78. New York: Columbia University Press, 2012.

SUPPLEMENTARY

Pilcher, Lauren. 鈥淨ueer Theory and Nontheatrical Films: Perversion in the Public Domain.鈥� In The Oxford Handbook of Queer Cinema, edited by Ronald Gregg and Amy Villarejo. Oxford: Oxford University Press, 2021.

8 Microcinema鈥�Hale County This Morning, This Evening (RaMell Ross, US, 2018)

Shambu, Girish. 鈥淢aking a Home for Film, Making Film a Home: The Nomadic Cinephilia of Ruun Nuur.鈥� Framework 62, no. 2 (2021): 199鈥�209.

De Ville, Donna. 鈥淭he Persistent Transience of Microcinema (in the United States and Canada).鈥� Film History: An International Journal 27, no. 3 (2015): 104鈥�36.

SUPPLEMENTARY

Koyaanisqatsi (Godfrey Reggio, US, 1982).

Shohat, Ella and Robert Stam. 鈥淭he Politics of Multiculturalism in the Postmodern Age.鈥� In Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994).

MID-SEMESTER BREAK

9 Cinematic milieu鈥�Domitilla I (DAAR Communication, Nigeria, 1996) https://www.youtube.com/watch?v=yQZSr92n2Hw

Canguilhem, Georges. (1952) 2001. 鈥淭he Living and Its Milieu,鈥� translated by John Savage. Grey Room, no. 3: 7鈥�31.

Larkin, Brian. 鈥淭he Cinematic Milieu.鈥� Public Culture 33, no. 3 (2021): 313鈥�48.

SUPPLEMENTARY

Okome, Onookome. 2007. 鈥淣ollywood: Spectatorship, Audience, and the Sites of Consumption.鈥� Postcolonial Text 3, no. 2.

Steyerl, Hito. 2009. 鈥淚n Defense of the Poor Image.鈥� In The Wretched of the Screen, 31鈥�45. Berlin: Sternberg.

10 Reading week鈥攖heses due end of the week

11 Cinematic milieu鈥攕ite visit tba

12 Room for play鈥�Toni Erdmann (Maren Ade, Germany, 2016)

Hansen, Miriam Bratu. 鈥淩oom-for-Play: Benjamin鈥檚 Gamble with Cinema.鈥� Canadian Journal of Film Studies/Revue Canadienne d鈥櫭﹖udes Cinematographiques 13, no. 1 (2004): 2鈥�27.

Benjamin, Walter. 鈥淭he Work of Art in the Age of Its Technological Reproducibility [Second Version].鈥� In The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, edited by Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin, translated by Edmund Jephcott, 19鈥�55. Cambridge, Mass.: Belknap Press of Harvard University Press, 2008.

13 Research essay workshop

听

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

Outcomes
Graduate qualities

At the completion of this unit, you should be able to:

LO1. synthesize disparate film concepts from different disciplines and fields of expertise
LO2. analyze, critique and ecaluate different critical and theoretical positions and approaches
LO3. present complex ideas succinctly and coherently.

Graduate qualities

The graduate qualities are the qualities and skills that all 爆料王 graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one鈥檚 personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

Topic content has been revised.

Disclaimer

Important: the 爆料王 regularly reviews units of study and reserves the right to change the units of study available annually. To stay up to date on available study options, including unit of study details and availability, refer to the relevant handbook.

To help you understand common terms that we use at the University, we offer an .

爆料王

FILM4114: The Cinematic Experience

Semester 2, 2022 [Normal day] - Remote

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

DETAILED SCHEDULE OF READINGS & FILMS

1 Introduction

2 The cinematic experience now鈥�2gather-a-part co-vid exquisite corpse series (https://vimeo.com/showcase/7024910)

3 Excavating cinema鈥檚 mobile virtual gaze鈥�Piccadilly (E. A. Dupont, UK, 1929)

4 Cinematic assemblages鈥�Faces Places (Agn猫s Varda and JR, France, 2017)

5 World cinema and the festival鈥�The World (Jia Zhangke, China, 2004)

6 Queer cinema in the world鈥�Circumstance (Maryam Keshavarz, France/US/Iran, 2011)

7 Portable cinema鈥攖est reels, smartphone media, the Internet

8 Microcinema鈥�Hale County This Morning, This Evening (RaMell Ross, US, 2018)

MID-SEMESTER BREAK

9 Cinematic milieu鈥�Domitilla I (DAAR Communication, Nigeria, 1996) https://www.youtube.com/watch?v=yQZSr92n2Hw

10 Reading week鈥攖heses due end of the week

11 Cinematic milieu鈥攕ite visit tba

12 Room for play鈥�Toni Erdmann (Maren Ade, Germany, 2016)

13 Research essay workshop

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links