This unit examines Australian art, cinema and popular imagery from 1880-1940, situating them within the global history of modernism and modernity. Themes include the landscape tradition, national identity, war, gender, and indigenous issues, with special focus on the Australian film industry.

Examining cinema as a manifestation of modernity, this unit of study contextualizes early film as art, commodity, industry, institution and mass production of the senses. It introduces students to the study of the history and aesthetics of silent cinema, including major genres such as melodrama and slapstick, and the impacts of the transition to sound.

1. A historical study of independent cinema, or New Wave movements in post-World War II Europe, including Italian Neo- Realism, the French New Wave and New German Cinema among others. 2. The study of Gilles Deleuze's thesis about these cinematic movements and concepts. 3. A study of the idea of Epic cinema cross-culturally so as to understand how memory is erased, sustained and created anew by film.

This unit of study will give an introduction to how film studies has analysed the meaning of a film in relation to how the film incorporates or addresses the spectator (what is known as theories of spectatorship). Commencing with debates around classical Hollywood cinema and the functioning of the point of view shot, the unit will examine how theories of spectatorship have understood the significance of different genres.

Nations are like movies: they are the result of complex imaginings. To what extent have nations been imagined through movies, and have movies been affected by national imaginings? This unit of study takes Hollywood as a starting point to examine the evolving relation of national cinemas and film genres. A national case study - for instance, Australian cinema - will be studied to identify and analyse some of the complexities of the relation of film genres and national audiences.

This unit of study will investigate the last two decades of the cinema of the USA, including Hollywood. Students will be introduced to the work of a number of established and emerging American filmmakers, to the work of a number of important film critics, and to issues concerning the theory and practice of film criticism. Critical and analytical focus will centre on the changing relation of subjectivity and time in independent cinema. Films that explore questions of subjectivity and that experiment with narrative structure will be featured.

In the age of reality television and instantaneous sharing of social media, why do documentary's truth claims, and modes of representing reality, continue to be so compelling? This unit introduces students to the history, modes and genres of documentary film, its production and reception contexts, and its postmodern and digital transformations.

What is the cinematic object of the twenty-first century? Where do we locate the essence of a medium that has undergone such a radical transformation? This course examines the intersection of film, digital cinema, and new media experiences such as YouTube, machinima and mobile cinema. Where many have spoken of the death of cinema in a digital era, we will conceptualise the complexity of cinema's evolution from its earliest celluloid incarnation to the technologies of digital simulation.

Digital Arts explores the ways digital and new media technologies are being used to transform cultural production, distribution and reception in the visual and performing arts, film and popular culture. Students will learn about the changing aesthetic, cultural and technical dimensions of new digital technologies and will develop the critical and analytical tools with which to discuss and evaluate digital art works and the ways that audiences interact with them.

Australian theatre and cinema have lively, at times intersecting, histories, and have played significant roles at both national and international levels, from the depiction of various local 'types' on stage and screen, to the work of Australian actors, directors and cinematographers overseas. This unit examines selected plays and films over the last century or so through a number of thematic focuses, including: race, gender and national identity; comic traditions; Australia and the world; modernity and innovation.

From the earliest days of European colonisation, alongside visions of its promise, Australia has also been seen as the worst of all possible worlds, a hellish place of exile where nature seemed uncannily strange or hostile. The 'gothic' has offered a powerful means of representing this dystopian theme. This unit examines the gothic mode in Australian literature and film from the nineteenth century to the present, taking in such issues as 'Weird Melancholy', ghosts, bunyips, badlands and postcolonial (dis)enchantment.

This unit introduces you to the history of Japanese film production with a focus on theory, criticism, and reception. Films will be discussed according to themes and genres and read in their socio-political contexts. It provides an initiated understanding of one of the most important film traditions in an international perspective.

This unit of study introduces you to the conceptual frameworks and technologies that shape the making of screen-based media and contemporary art practices. Through a series of lectures, seminars, tutorials and screenings you will explore the evolution of experimental film, video art and independent filmmaking from the 1960s to the present. You will engage in the production of a self-directed digital film that may be realized in any style or genre. The unit is supported by a technical program that provides you with the applied skills and competencies needed for the use of studio facilities and equipment.

How do form and style structure our experience of film? This unit provides a critical introduction to elements of film making and viewing, moving through an exploration of formal components of film to consider film aesthetics in relation to the history of film scholarship. We will consider films in a variety of cultural and historical contexts, from early cinema to youtube, and introduce a series of "case studies" to explore historical, cultural and material contexts of film production and consumption.

This unit will explore some of the most interesting and innovative theoretical, literary and multimedia texts of the last half century. Some of the topics to be explored include the relationship between modernism and postmodernism; movements, communities and subcultures; experimentalism and activism; small press publishing and independent cinema; politics, history and cultural value; genre, style and intertextuality; auteurism and the 'death of the author'.

This unit explores the relationship between cinema and sexuality in classic films through detailed, historicised readings. Questions to be investigated include the erotics of cinematic genre and form; the sexual politics of representation and spectatorship; stardom, scandal and cult appreciation; cinema and sexuality as technologies of modernity; cinema, sexuality and pedagogy.

This unit will examine issues arising from a comparative study of literature and cinema, including: the continuities and discontinuities between the two mediums; the cultural and historical contexts of literary and cinematic texts; authorship, auteurism and aesthetic authority; adaptation and intertextuality; the figurative styles of literature and cinema; narrative and narration in literature and cinema; genre study.

In this unit we will investigate the most interesting and engaging cultural work done in the US over the last decade, focusing on intellectual and aesthetic cultural engagement with cultural and political diversity. In particular we will be considering: how 'quality' televisions reconfigures the aesthetic ecology, how protests movements (Black Lives Matter, Occupy) affect the aesthetic representation of citizenship, how LGBTIQ concerns are reflected in new and familiar aesthetic domains, and what reading does to your brain.

Cinema was born on the eve of a century of conflict in Europe. Celebrated as an avant-garde art form, it was also used for political propaganda and popular entertainment during the 20th century. Most recently European cinema has taken on another function, contributing to the creation of modern European identities through critical self-representation. This unit focuses on a range of recent films in order to study social and cultural change in the new Europe of the past two decades.

The twentieth century was known as the cinematic century. How best should we understand film today? Once confined to the physical space of the movie theatre, the cinematic image is now mobile, part of our everyday mediascapes. This unit considers the broad history of film from the perspective of the contemporary moment, while also providing the conceptual tools for analyzing the future of film in a media-convergent world.

Honours is an intensive year-long program of advanced study based around research. Honours is undertaken after successful completion of a Bachelor degree and where the overall mark is a minimum credit average (70%). Entry into Honours is selective and work at this level is challenging. Honours is available in most subjects areas taught in the Faculty, and which are listed under Tables A and B in the Handbook. Students will complete a thesis and coursework seminars throughout the year. For further information contact the Honours Coordinator in the department or consult the Handbook entry for the relevant subject area.

Refer to FILM4101

Refer to FILM4101

Refer to FILM4101

This unit will explore the ways in which French cinema and society have interacted since WWII. It will examine how French society has been represented in fiction films and how major socio-political events have shaped French cinema. We will explore some basic concepts in French film theory and analytical methods derived from them. Film screenings are an integral part of the unit, and students must arrange their timetable so that they can watch each film at least once.

This unit will focus on a type of filmmaking that shows political and social awareness by depicting socio-political events, contemporary social realities in France and issues of marginality and difference. It will consider the contexts in which various trends of political films have emerged, the influence of post-war film history and contemporary events. The unit will explore issues of cinematic representation of marginality, ethnicity, sexuality and difference. Film screenings are an integral part of the course.

This unit of study will explore German film from the perspectives of film theory and historical culture. Discussions will situate films within the German political and cultural context of their time and study them from the perspective of contemporary cross-cultural critique. The unit may concentrate on the works of a specific director, a period or a genre, or deal with key social and political issues within a selection of German films.

Using a number of significant films from across the continent of Europe, the unit examines the way in which films can both create the past and transform existing ideas about the past. The unit examines a range of different kinds of films: "historical" films which set out self-consciously to construct a version of the past as well as those in which film-makers have confronted the contemporary problems of their own society.

This unit will investigate how film stars reflect national preoccupations and how they achieve national and transnational fame. It will examine and compare several major film stars from several cultures and will analyse their star image through, for example, their on-screen performance in film adaptations, their celebrity bodies and faces and their representations in the popular media. Students will be introduced to film star theories. Students will have to attend at least 4 film screenings.

An examination of the relationship between Italian cinema and fiction. Do they speak a common language? Do they employ comparable techniques? Who copies whom? This unit investigates these and other questions by analysing the adaptation of selected contemporary Italian novels into film.

This unit is an introductory survey of the history and aesthetics of film music from the late 1890s to the present day. Topics for discussion will include the dramatic function of music as an element of cinematic narrative, the codification of musical iconography in cinematic genres, the symbolic use of pre-existing music, and the evolving musical styles of film composers.

The range of media channels through which we experience popular music has proliferated in recent years. The emotive power of music is used to tell stories, sell products and connect people to one another. This unit of study will analyse the use of popular music in a broad range of multimedia forms from film and television to video games and the use of digital media to disseminate a multitude of musical multimedia productions.

This unit will use the screening and criticism of carefully chosen classical and contemporary films to raise important philosophical questions and to contribute to our response to them. Each film screening will be paired with a key philosophical question that is explored in the film and further investigated in class: problems of freedom, human action, democracy, crime, love, otherness, marriage, conversation, selfhood, and being human. The class will also explore some central questions in the philosophy of film.

This unit analyses the position of religion in a range of films, such as the presentation of Buddhism in recent Western films (Kundun, Little Buddha, Seven Years in Tibet); the image of Christianity in 'sword and sandal' epics (Ben Hur, Quo Vadis); the role of film in familiarising Western audiences with unfamiliar religious traditions (e.g. ethnographic documentaries); and the depiction of post-modern religious concerns in science fiction (Blade Runner, The Matrix etc).

This unit, taught in English, will introduce you to Latin American film studies, comprising history, theory and criticism through the exploration of 'national' cinema industries. We will examine the history of film production of Mexico, Argentina, Chile and Brazil, looking at the cultural and socio-political context in which filmmaking should be placed. Apart from tracing the history of film production in such countries, we will be focusing on recent developments in this field from the 1990's to the present day.