Kurzus nemzetközi vendég- és részidős hallgatóknak
- Kar
- Bölcsészettudományi Kar
- Szervezet
- BTK Anglisztika Tanszék
- Kód
- BBI-ANGF17-204E
- Cím
- Film és társadalom brit játékfilmeken 1940-70
- Tervezett félév
- Őszi
- Meghirdetve
- 2024/25/1
- ECTS
- 5
- Nyelv
- en
- Oktatás célja
- The purpose of this seminar is twofold. On the one hand, to enable its participants to see films with expert eyes: both in terms of filming techniques (film materials, cameras, lenses, cutting, etc.) and in terms of the thematic, dramaturgical and visual art aspects of the genre; and, on the other hand, to gain insight into the larger social, political, ideological and economic contexts in which film makers worked in the period concerned. The two approaches (the technical-artistic and the historical-social) will be linked up in the final analysis.
- Tantárgy tartalma
- Seven British films – two documentaries and five features – produced during the period between 1940 and 1970 will be shown during the semester. (See the list of films from which these will be chosen below.) Students will receive instruction in the application of analytical tools that relate to these films as sources of history, literature and visual art. Specialist literature on the subject will be disseminated and discussed parallel with the screenings. The week after each film or film part was shown, a brief questionnaire on the previous week’s film will be handed out before the main screening to make sure that everyone keeps pace with the curriculum. Some of the films (marked with an asterisk) are associated with so-called “kitchen sink realism”, a British cultural movement in the late 1950s and early 1960s in theatre, novels, cinema and television drama. Represented by playwrights like John Osborne and Arnold Wesker and novelists Alan Sillitoe and John Braine, and also known as the Angry Young Men movement, this new wave in British art found its expression in films directed by, among others, Tony Richardson and Lindsay Anderson. (Some critics include Ken Loach’s work under this category, but perhaps Loach is best discussed in a category of his own.) These movies address the generational clash between the departing age of deference and the ruthless iconoclasm (often self-serving and gratuitous) of Britain’s new urban proletariat. The depiction of gender in these films is of particular interest in that it shows how the emancipation of women began to gather pace in a society and a social class previously characterised by barefaced male domination.
- Számonkérés és értékelés
- The grading of seminar work will be based on one end-of-semester essay on a topic chosen by the students agreed with the instructor (60%); the weekly mini-papers (25%); and class contributions (15%). Each student will be allowed to miss three mini-papers, whether they are absent or not, without consequences.
- Irodalomjegyzék
- Books Chapman, James. PAST AND PRESENT: National Identity and the British Historical Film, London and New York: I.B. Tauris, 2005. Dixon, Wheeler Winston, ed. Re-Viewing British Cinema, 1900-1992: essays and interviews, New York: State University of New York Press, 1994. Swann, Paul, The British Documentary Film Movement 1926-1946, Cambridge: Cambridge University Press, 1989. Velich, Andrea and Dorottya Jászay, eds, Film & Culture, ELTE, 2016: https://edit.elte.hu/xmlui/handle/10831/30209 Films Documentaries: Basil Wright & Harry Watt, Night Mail (1936) John Schlesinger, Terminus (1961) Humphrey Jennings, Spring Offensive (1940) Feature films: Jack Clayton, Room at the Top (1959)* Karel Reisz, Alan Sillitoe, Saturday Night and Sunday Morning (1960)* Tony Richardson, Alan Sillitoe, The Loneliness of the Long Distance Runner (1962)* Lindsay Anderson, David Storey, This Sporting Life (1963)* John Schlesinger, Billy Liar (1963)* Bryan Forbes, Whistle Down the Wind (1961) Clive Donner, The Caretaker (1963) Kenneth Loach, Kes (1969)