Outline

Overview

What does it mean to acquire a global perspective on film? How does a global perspective on film affect our understanding of film culture? This unit surveys cinema from around the world to piece together a picture of film culture derived from the close analysis of contemporary film form, style criticism and theory. Particular focus will be placed on the complex relation of the film text and the film audience. How do films address multiple and diverse audiences from different places with different histories and identities?

Unit details and rules

Unit code	FILM3004
Academic unit	Art History
Credit points	6
Prohibitions ?	None
Prerequisites ?	12 credit points at 2000 level in Film Studies
Corequisites ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	Yes

Teaching staff

Coordinator	Richard Smith, r.smith@sydney.edu.au

Type	Description	Weight	Due	Length
Presentation	In-Class Presentation. Individual	20%	Multiple weeks	10-15 Minutes.
Outcomes assessed:
Assignment	Conceptual Essay Individual	30%	Week 08 Due date: 21 Apr 2020 at 23:00	1500 words.
Outcomes assessed:
Assignment	Research Essay Individual	50%	Week 14 (STUVAC) Due date: 05 Jun 2020 at 23:00	2000 words
Outcomes assessed:

Assessment summary

Detailed information can be found on Canvas

Assessment criteria

Detailed information can be found on Canvas

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.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

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 simple extension.  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’t 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 special consideration or special arrangements.

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

Using AI responsibly

Co-created with students, AI in Education 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 02	Imagined Community. Dunkirk.	Lecture and tutorial (3 hr)
Week 03	Imagined Community: Fragmentation. "71 Fragments of a Chronology of Chance."	Lecture and tutorial (3 hr)
Week 04	Imagined Community 3: Dispersal. "What Time is There?"	Lecture and tutorial (3 hr)
Week 05	National Cinema: Australia: Narration and Monstration. "The Nightingale"	Lecture and tutorial (3 hr)
Week 06	National Cinema: Korea: Narration and Monstration. "The Host"	Lecture and tutorial (3 hr)
Week 07	National Cinema: Romania: Surveillance. "Beyond the Hills"	Lecture and tutorial (3 hr)
Week 08	National Cinema: France: Surveillance 2. "Cache"	Lecture and tutorial (3 hr)
Week 09	National Cinema: Germany: Surveillance 3. "Yella"	Lecture and tutorial (3 hr)
Week 10	National Cinema: Palestine: Surveillance 4. "Omar"	Lecture and tutorial (3 hr)
Week 11	'World/ Queer' Cinema. "The Ornithologist"	Lecture and tutorial (3 hr)
Week 12	Planetary/ Art/ Genre Film. "Annihilation"	Lecture and tutorial (3 hr)
Week 13	Conclusion. "My Life as a Zucchini".	Lecture and tutorial (3 hr)

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

FILM3004: National and Transnational Cinemas.

Film Screening Schedule (Tuesdays 13:00 – 16:00pm). Films will be screened in class. Copies required for students but also for lecturer to screen.

Wk 1. United 93 Paul Greengrass

Wk 2. Dunkirk Christopher Nolan

Wk 3. 71 Fragments of a Chronology of Chance. Michael Haneke.

Wk 4. What Time is it There? Tsai Ming-liang

Wk 5. The Nightingale. Jennifer Kent.

Wk 6. The Host. Bong Joon Ho.

Wk 7. Beyond the Hills. Cristian Mungui

wk 8. Caché. Michael Haneke

Wk 9. Yella. Christian Petzold.

Wk 10. Omar. Hany Abu Assad.

Wk 11. The Ornithologist. Joao Pedro Rodriguez

Wk 12. Annihilation. Alex Garland.

Wk 13. My Life as a Zucchini. Claude Barra.

READINGS SCHEDULE.

Wk 1. United 93. (Paul Greengrass).
INTRODUCTION

NO READING.

Wk 2. Dunkirk (Christopher Nolan)
IMAGINED COMMUNITY

Anderson, Benedict. “Cultural Roots.” and “The Origins of National Consciousness.” Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso, 1983. 17-50.
Bordwell David. “Narration and Time.” Narration and the Fiction Film. London: Methuen, 1985. 74-98.

Reference.

Eisenstein Sergei. “Dickens Griffith and the Film Today” Film Form.

Renan, Ernst. “What is a Nation?” Nation and Narration. Ed. Bhabha, Homi K. London: Routledge, 1990. 8-22.

Reference.

Ogle, Vanessa. “National Times in a Globalizing World.” The Global Transformation of Time: 1870 – 1950. Cambridge, Massachusetts: Harvard UP, 2015. 20 - 46.

Reference Films.
Tykwer, Tom. Lana Wachowski, Lilly Wachowski. Cloud Atlas. (2012).
Soderbergh, Steven. Contagion. (2011).
Moodysson, Lukas. Mammoth (2009).
Yang, Edward. Yi Yi (A One and a Two). 2000

Wk 3. 71 Fragments of a Chronology of Chance. (Michael Haneke).
FRAGMENTATION
Wheatley, Catherine. “The Last Moralist?” Michael Haneke’s Cinema: The Ethic of the Image. New York Oxford: Berghahn Books, 14-50

Rowe, Christopher. “Audiovisual Fragmentation and the Event: 71 Fragmente einer Chronologie des Zufalls and Code inconnu.” Michael Haneke: The Intermedial Void. Northwestern UP, 2017. 95 – 130.

Reference.
Schwartz, Peter J. “The Void at the Center of Things: Figures of Identity in Michael Haneke’s Glaciation Trilogy.” A Companion to Michael Haneke. Ed. Roy Grundmann. 337-353.

Reference Films.
Wasilewski. Tomasz. The United States of Love. (2017)
Akin Fatih. Edge of Heaven. (2007).

Seidl, Ulrich. Dogdays. (2001)
Haneke, Michael. Code Unknown. (2000)
Hong sang-soo. The Power of Hangwon Province (2000)
Jarmusch, Jim Night on Earth. 1991.

Wk4. What Time is it There? (Tsai Ming-liang).
Agamben, Giorgio. “Time and History: Critique of the Instant and the Continuum.” Infancy and History: On the Destruction of Experience. Trans. Liz Heron London: Verso, 1993. 97-116.

Hutchings, Kimberly. “Introduction to the question of world-political time.” Time and World Politics: Thinking the Present. Manchester: Manchester UP, 2008. 3 – 27.

Tweedie James. “The Haunting of Taipei.” The Age of New Waves: Art Cinema and the Staging of Globalization. Oxford: Oxford Scholarship Online, 2013. 1- 15

Reference films.
Schanelec, Angela. The Dreamlike Path. 2016
Sang-soo Hong. Ha Ha Ha. (2010)
Hsio-Hsien Hao. Café Lumiere. (2003).
Yang Edward. Yi Yi. (2000).

Wk 5. Australian Cinema (Jennifer Kent).
Gaudreault, Andre. “Narration and Monstration in the Cinema.” From Plato to Lumiere: Narration and Monstration in Literature and Cinema. Toronto: Toronto UP, 2009. 82-89

Reference.

O’Regan, Tom. “A National Cinema.” Australian National Cinema. London, New York: Routledge, 1996. 45-76.

Goldsmith, Ben. “Outward-looking Australian Cinema.” Studies in Australasian Cinema. 4.3 (2010): 199-214.

Siemienowicz, Rochelle. “Globalisation and home values in New Australian Cinema.” Journal of Australian Studies. 23 (1999). 49-55

David, Mark Ryan. “A silver bullet for Australian cinema? Genre movies and the audience debate.” Studies in Australasian Cinema. 6. 23 (2014): 141 – 157.

Reference Films.

Thornton, Warwick. Sweet Country. (2017).
de Heer, Rolf. Charlie’s Country. (2017).
Sen, Ivan. Mystery Road (2013)

Hughes, Patrick. Red Hill. (2009)

Sen Ivan. Toomelah. (2011).

Wk 6. Korean Cinema. The Host. (Bong Joon-ho)
Lee, Meera. “Monstrosity and Humanity in Bong Joon-ho’s The Host.” Positions. 24.4 (2018): 719-747.

Reference readings.

Utin, Pablo, “Sliding Through Genres: The Slippery Structure of South Korean Films.” Journal of Japanese and Korean Cinema. 8:1 (2016): 45-58.

Martin, Daniel. “South Korean Horror Cinema.” A Companion to the Horror Film. Ed, Harry M. Benshoff. John Wiley and Sons, 2014: 423 – 442.
Lee, Nikki, J.Y. “Localized Globalization and a Monster National: The Host and the South Korean Film Industry.” Cinema Journal. 50. 3 (Spring 2011): 45-61.

Reference Films.

Lee Chang-dong. Burning. (2018).

Na Hong-jin. The Wailing. (2016)

Sang-ho Yeon Train to Busan. (2016).
Park Cjan-wook. Oldboy (2000)
Kang Jegyu. Shiri (1999).

Wk 7. Romanian Cinema. Beyond the Hills. (Cristian Mungui)

Foucault, Michel. “Panopticism.” Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. London: Penguin Books, 1979. 195 – 228.

Goss, Michael. Brian. “Four Months, Three Weeks and Two Days (2007) and Beyond the Hills (2012): Romanian auteur Cristian Mungui and the paradoxes of ‘anti-national national cinema’.” Journal of European culture. 6. 1 (2015): 33 – 47.

Reference. Readings.

Serban, Alexandru Leo, et al. “Romanian cinema: From Modernity to neo realism.” Film Criticism. 34. 2/3 (special double Issue on New Romanian Cinema) (Winter/ Spring 2010: 2-21.

Gorzo, Andrei. “In the Name of “the ambiguity of the Real”: Romanian cinematic Realism after the 2000s.” Film Criticism. 41. 2 (October 2017): 1 -13

Hwang Kyeryung. “Peripheral Aesthetics after Modernism: South Korean Neo-realism and Chang dong-Lee’s Poetry.” The Global South. 11. 1 (Spring 20170: 30-56.

Reference Films.

Labaki, Nadine. Chaos (Carpernaum) (2018).

Kalev, Kamen. Eastern Plays. (2009).

Mungui, Cristian. 4 Months, 3 Weeks and 2 Days. (2007).

Lee Chang-dong. Oasis (2002).

Dardenne, Jean Luc. Rosetta. (1999).

Rossellini, Roberto. Germany Year Zero. (1947).

Wk 8. French Cinema. Cache (Michael Haneke).

Saxton, Libby. “Secrets and Revelations: Off-Screen space in Michael Haneke’s Caché.” Studies in French Cinema. 7.1 (2007): 5-17.

Levin, Thomas Y. “Five Tapes, Four Halls, Two Dreams: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché. A Companion to Michael Haneke. Ed. Grundmann, Roy. Wiley, Blackwell: West Sussex, 2014. 75 – 90.

Reference.

Cowan, Michael. “Between the Street and the Apartment: disturbing the space of fortress Europe in Michael Haneke.” Studies in European Cinema. 5. 2 (2008): 117-29.

Reference Films.

Sciamma, Celine, Girlhood. (2014)

Denis, Claire. 35 Shots of Rum (2008).

Bouchareb Rachid. Outside the Law (2010).

Haneke Michael. Code Unknown. (2000).

Wk 9 ‘Post-unification German Cinema: The Berlin School. Yella. (Christian Petzold)

Miller, Mathew. “Facts of Migration, Demands on Identity: Christian Petzold’s Yella and Jerichow in Comparison.” The German Quarterly. 85. 1 (Winter 2012): 55 – 76.

Bailbar, Ettiene. “Homo nationalis: An anthropological sketch of the nation-form.” We the People of Europe.

Reference.

Biendarra, Anke S. “Ghostly Business: Place, Space, and Gender in Christian Petzold’s Yella. Seminar: A Journal of Germanic Studies. 47. 4 (September 2011): 465 – 78.

Baer, Hester. “Affectless Economies: The Berlin School and Neoliberalism.” Discourse: A Journal of the Theoretical Humanities. 35. 1 (Winter 2013): 72 – 100.

Elsaesser, Thomas. “European Cinema as World Cinema: A New Beginning? European Cinema: Face-to-Face with Hollywood. Amsterdam: Amsterdam UP, 2005. 485-514

Reference Films.

Petzold, Christian. Transit. (2019).

Ade, Maren. Toni Erdmann. (2016).
Schanelec Angela. The Dreamlike Path. (2016).
Petzold, Christian. Barbara. (2012).

Heisenberg, Christian. Robber. (2010).

Wk10 Palestinian Cinema. Omar (Hany Abu-Assad)

Hedges Inez. “Performative Memory: The Nakba and the Construction of Identity in Palestinian Film.” World Cinema and Cultural Memory. Palgrave Macmillan. 2015. 65 – 84.

Mendes, Ana Cristina. “Walled in/ walled out in the West Bank: performing separation walls in Hany Abu-Assad’s Omar.” Transnational Cinemas. 6. 2. (2015): 123-135.

Reference.

Nashef, Hania. “Demythologizing the Palestinian in Hany Abu-Assad’s Omar and Paradise Now.” Transnational cinemas. 1. 7 (2016: 82 – 95.

Gertz, Nurith, George Khleifi. “A Chronicle of Palestinian Cinema.” Palestinian cinema: Landscape, Trauma, and Memory. Bloomington, Indianapolis: Indiana UP, 2008. 11- 58.

Reference Film.

Dovieri, Ziad. The Insult. (2017).

Maoz, Samuel. Foxtrot. (2017)..

Abu-Assad, Hany. Paradise Now. (2005).

Suleiman, Elia. Divine Intervention. (2002).

Khleifi, Michel. Fertile Memories. (1980).

Wk 11. ‘World/ Queer’ Cinema. The Ornithologist. (Joao Pedro Rodriguez)
Deleuze Giles. “From Recollection to Dreams.” Cinema 2: the time-image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: U of Minnesota P, 1986. 25 – 43

Reference readings.
Galt, Rosalind and Karl Schoonover. “The Emergence of Queer Cinematic Time.” Queer Cinema in the World. Duke UP, 2016. 259 – 304.

Reference films.

Lelio, Sebastien. A Fantastic Woman. (2017).

Lee, Francis. God’s Own Country. (2017).

Haynes, Todd. Carol (2015).

Wk 12 Planetary /Art/ Genre Annihilation. (Alex Garland).

Hughes, David. “To the Lighthouse Under the shadow.’ Film International. 86. 2018): 6 -12.
Cox Emily. Denuding the Gynoid: The Woman Machine as Bare Life in Alex Garland’s Ex Machin.” Foundation. 47. 130 (2018). 5 – 19.

Reference Readings.

Brereton Pat. Eco-Feminism, Environmental Ethics and Active Engagement in Science-Fiction Fantasies Environmental Ethics and Film. Taylor and Francis 2015. 82 -105.
“Jelaca, Dijana. “Alien Feminisms and Cinema’s Posthuman Women.” Signs: A Journal of Women in Culture and society. 43. 2 (2018): 379 – 4-1.

Recommended Films.

Ex Machina. Alex Garland.
Under the Skin. Dir. Jonathan Glazer, 2014.

Blade Runner 2049. Dir. Denis Villeneuve, 2017.

Her. Dir. Spike Jonze, 2013.

Wk 13 Conclusion. My Life as Zucchini. (Claude Barra)

No reading.

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. watch and comprehend a diverse range of films from different locations
LO2. assess the merits of different aesthetic strategies in film
LO3. interpret scholarly accounts of individual films and groups of films
LO4. conceptualize and explore ideas presented in audio-visual form
LO5. conduct self-directed research that utilizes written and audio-visual materials
LO6. offer cogent and reasoned arguments to support research findings
LO7. e ngage in extended debate with peers in a collegiate environment

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney 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’s 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.

This is the first time this unit has been offered.

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

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

Current students

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

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect

Current students

FILM3004: National and Transnational Cinema

Semester 1, 2020 [Normal day] - Camperdown/Darlington, Sydney

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

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect