Transcultural Film. The Module. (EVALUATIVE DOSSIER)
Ah, 283MC. Arguably the module that changed my life… Okay, maybe a tad melodramatic, but I must insist, this term has had a bigger and more profound impact on me as a creative (and a thinker) than ever before. Everything I thought I understood about film was proven wrong, I have been taught from the ground up again on film, and it has really re-defined my vision as a (future?) film-maker and an academic. My view on culture has changed, I understand things I never could before. I’m questioning more (much to the annoyance of my peers, which I confess I play up to now!), I have been enlightened.
I didn’t think I could be as enthralled about a subject as I was about the digital world last year, but I have been proven wrong. It has been quite a module.
In the interest of external moderation (or however the system of marking operates) I will put all the relevant links here. That’s my evaluative dossiers, the practical tasks etc. I’ll try to order them too.
Presentation on Suckerpunch – Our first task for the module, a theoretical stab at an arguable ‘ cult masterpiece’, Suckerpunch.
Modern films with a hint of Italian neorealism – I chose Ken Loach’s ‘Route Irish’. Perhaps a step away from his usual radical realist inspired work, I still enjoyed it very much. I don’t care what Kermode said about it, after this module I don’t value the opinion of mainstream critics.
Considering Noel Carroll’s ‘Tier System’ – Note. tiers three and four were an interjection from my lecturer, a proposition we entertained to help make sense of Hollywood from the 1970’s onwards.
Figuring out French new wave – Our first major encounter with French new wave. This was a tricky one, to quote a fictional character from a fictional remake of a fictional book: “Jus’ fishin’ in the dark, son.” We researched into French new wave independently, and were tasked with remaking a contemporary film from the last five years.
‘The Amazing Spoderman’ – Part two of our misadventures with French new wave, we were told we had to go one better, so we remade the most mainstream film we could think of, ‘The Amazing Spiderman.’ WWGD (What Would Godard Do?), probably question everything about Peter’s existence. Here you’ll find the finished remake and a reflective essay.