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NYUL Syllabus London on Film- Dr. Meenu Gaur SPRING 2020

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NYUL Syllabus London on Film- Dr. Meenu Gaur SPRING 2020 NYU London: Spring 2020 IFMTV-UT 1020 British Cinema – London on Film Instructor Information Dr. Meenu Gaur Office Hours: Monday 5 pm-6:30pm, Room: 301 [email protected] Course Information Screening: 6:30pm-8:30pm Mondays Room No. 301 Lecture Seminars: 9:00am-12pm Tuesdays Room No. 305 Course Overview and Goals In common with many capital cities, London has featured as background, object and protagonist in cinema – both in films made by British directors and in films made by visiting directors. Sometimes these films celebrate London; sometimes they cast the city negatively in opposition to other areas of the country and its countrysides and coastlines; sometimes London is shown as a gateway to other countries. The course will examine what is understood as British cinema in a national and inter- national exhibition and distribution context and refer to a number of settings, genres and themes by which it may be identified in historical and contemporary production. What specific contribution is made by London on Film to British cinema in general? The course is taught by way of compulsory viewings, and three-hour seminars (with half- hour break). Upon Completion of this Course, students will be able to: Evaluate various changing definitions of a ‘national’ cinema Discuss exchanges between British cinema and Hollywood Discuss exchanges between British cinema and Europe Discuss the role of London as a cinematic emblem in particular instances – as actual location and artificial construction, from landmark London to the local Discuss the role of cinema in the cultural promotion of London, at home and abroad. Discuss the conceptual underpinnings, style and aesthetics of leading con- temporary British filmmakers. All reading material recommended to students is available either in the Tisch office or NYUL Classes, free, at the British Film Institute Library (BFI Southbank) or Senate House. Further viewing material can be booked by students for viewing on site. In addition, students are encouraged to use BFI Screenonline (plenty of material on London) and the BFI Southbank Mediatheque, where relevant archival film and tele- vision deposits are viewable free of charge. The BBC TV 4 The London Collection, an invaluable archive of London films is also recommended https://www.bbc.co.uk/ iplayer/group/p00synd3 as is NYU London: Spring 2020 the Journal of British Cinema and Television, and OUP British Cinema Bibliography, both accessible online. Students are also encouraged to NYU London: Spring 2020 visit any relevant permanent and temporary exhibitions (for instance, in recent years at the Imperial War Museum; Tate Britain; the Museum of London; the Photograph- ers' Gallery; the Cartoon Museum; the National Gallery; the National Portrait Gallery; London Transport Museum; the V&A and events at the Cinema Museum). Course Schedule NYU London: Spring 2020 SESSION/DATE TOPIC READING ASSIGNMENT DUE Monday Essential Reading: Groups for Introduction to the group Screening course. - Sontag, S. (1966) presentation. 03/02/2020 : ‘Against Interpretation’ Notting Hill Break Topic 1 given for (Michell, 1999) In Against Group Topic I: Interpretation and Presentation 1. Session Tue: London on Film & Other Essays. United Due 03/03/2020 04/02/2020 London’s ‘Place-image.’ States: Farrar, Straus & Giroux. Landmark London’ and its uses in the London - Spicer, A. (2004) Further Reading films: The films set in ‘The Reluctance to (Contd.) London have drawn on Commit: Hugh Grant previous representations and the New British -Sargeant, A. Romantic Comedy.’ of London to develop (2008) ‘certain recognisable In The Trouble With ’1990s and Men: Masculinities conventions and the New preoccupations.’ What in European and Holly- wood Millennium. factors determine these ’ In British articulations of London Cinema. ed. Powrie, P, Cinema: A in cinema? Davies, A and The above framework Babington, B. Critical will launch students into London: Wallflower History. Press, pp.77-87. London: BFI, questions of pp.325-357 representation, identity Further Reading: and belonging. -Angela -Brundson, C. (2007) McRobbie, Further Viewing: ‘Introduction.’ In ‘Notes on Spring in Park Lane London in Cinema: Post- (Wilcox, 1948), Four The Cinematic City feminism Weddings and a Since 1945. London: and popular Funeral (Newell 1994), BFI, pp. 1-20 culture: Bridget Jones Diary -Brooke, M. Bridget (Maguire, 2001, 2004, ‘Britishness.’ Jones and 2016), About Time Screenonline.Available the New (Curtis, 2013), at: <http:// Gender Regime’ in Wimbledon (Loncraine, www.screenon- line.org.uk/tours/ All About the 2004), Love Actually Girl: Culture, (Curtis, 2003), King’s british- ness/tour6.html Speech (Hooper 2011), >[Accessed: 18 July Power and 2019] Identity, Skyfall (Mendes, Anita Harris 2012), -McFarlane, B. (2009) ’The More Things (ed.) Paddington Change… British (London: (King, 2014) etc. Cinema in the 90s.’ In The British Cinema Routledge, Book. ed. Murphy, 2004), 3-14. R.London: BFI, 366-374. -Ferris S and Young M (2008) Chick Flicks: Contemporar y Women at the Movies. New York: Routledge. NYU London: Spring 2020 Monday The west and rest Essential Readings: Group Screening distinction in London -Christie, I. (2017) Present. 10/02/2020: films. ‘East- West: Assignmen t The Ladykillers Reflections on the topic 2. (1955, The long running changing cinematic Due distinction between how Mackendrick) topography of London.’ 10/03/2020 west London is In London on Film. portrayed in comparison to other Londons will be eds. by Hirsch, P & Session 2: O’Rourke, 11/02/2020 analysed in this segment of the module. West C.Palgrave:London, pp London is associated 239-252 with a certain middle- -Perry, G. (1981) ‘The class and upper- class Ealing Comedies’, In Forever Ealing: A social milieu signifying Celebration of the Great British Film glamour, while the rest Studio London: of London (despite its Pavillion, pp. 111- 142. gentrification) signifies -Aldgate A and Jeffrey the ‘working class’ Richards J (1983),’Cul- London which can de-Sac England: The convey authenticity but Ladykillers’ In Best of in other instances British: Cinema and becomes a setting for Society, 1930-70 crime and violence. Oxford, Blackwell, pp. 149-165. BREAK Introduction to the Suggested Reading: Ealing Comedies. -Barr, C. (1999) Ealing Studios: A Movie Book. British film production University of California in the post world war II Press. decade was dominated by -Dacre R (2009), a series of films by the ‘Traditions of British Ealing studios like Hue Comedy’, in The British and Cry (Crichton, 1946), Cinema Book. Ed by Passport to Pimlico Murphy R. London: (Cornelius, 1949), The BFI, pp. 106-117. Lavender Hill Mob -Pulleine, T (2009) ‘A (Crichton, 1951), Kind Song and Dance at the Hearts and Local: Thoughts on Coronets (Hamer, 1949), amongst others. These Ealing’, in The British films are often cited as Cinema Book. ed by the most Murphy R London: BFI, quintessentially ‘British’ pp.259-266. films. -Ellis, J (1996) ’British Critics and the Cinema, Additional Viewing: The 1942-1948’, in Lodger: A story of the Dissolving Views: Key London Fog (Hitchcock, Writings on British 1927) Cinema, ed by Higson Further Viewing: A. London: Cassell. pp. The Bells Go Down 66-93. (Dearden, 1943), Hue and Cry (Crichton, 1946), Passport to Pimlico (Cornelius, 1949), Kind Hearts and Coronets (Hamer, 1949), Whisky Galore (1949, Mackendrick), The Lavender Hill Mob (Crichton, 1951), The NYU London: Spring 2020 Screening The ‘east end’ as a Further Reading: Further Reading Monday: generic space. -Barr, C. (1999) (contd.)- 17/02/2020 ‘Before Blackmail: Chibnall, S. The Long Good Silent British Cinema’, (2009) ‘Travels in The east end has Friday in English Hitchcock. Ladland: The existed as a strongly (Mackenzie, Cameron & Hollis, pp. British Gangster 1980) generic space 5-15. (Brundson 2007) in Film Cycle.’ In Session 3: -Barr, C. (1996) The British 18/02/2020 horror, noir and ‘Hitchcock’s British Cinema Book. gangster films like It Films Revisited.’ In ed. by Murphy, Always Rains on Dissolving Views: Key Sunday (Hamer, 1947), R. London: BFI, Writings on British and slasher films like 375-385. Cinema. ed. By From Hell (Hughes -Monk, C. Brothers, 2001). What is Higson, A. London: (1999) ‘From a genre’s relationship Cassell, pp. 9-19 underworld with setting? -Hill, J. (1999) to ‘Allegorising the underclass: Nation: British Gang- crime and What is Genre? ster Films of the British 1980s.’ In British cinema in -The British Gangster Crime Cinema. ed. by the 1990s.’ Film: Seminar Chibnail, S & Murphy, In British Discussion R. London: Crime Routledge, pp. Cinema. ed. 160-171. by Chibnail, BREAK S & Murphy, R. London: - Explanation of Group Further Reading: Routledge, Exercise: The -Ryall,T (2009) pp. 172- Hitchcockian Style ‘Piccadilly’, 188. -Catterall, A - Group Exercise in The British Cinema Book. ed. & Wells, S. By Murphy, R. (2001) ‘The London: BFI, 205. Footballer, Further Viewing: -Landy M (1991), The ‘Introduction’, British Gangster, Downhill Genres. Princeton: The Icon & (Hitchcock, 1927), Black- Princeton University Her Lover: mail (Hitchcock, 1929), Press. Lock, Stock Murder (1930), Manxman -Christine G (2009) and Two “Late Silent Britain’, (1930), The 39 Steps Smoking (Hitchcock,1935), in The British Sabotage (Hitchcock, Cinema Book ed. By Barrels.’ In Your Face 1936)etc. Murphy, R. London: Here: British BFI, pp. 163-176. Cult Movies Pandora’s Box (Pabst, -Spoto D (1999), Since the 1929) Waterloo Road ‘Chapter Four: Six- ties. (Purvis, 1945) etc. 1925-1927’, in The London: 4th Dark Side of Genius: Estate, pp. The Life of Alfred 230-251. Night and the City Hitchcock. Little (Dassin, 1950) Mona Brown: Boston. Lisa (Jordan, 1986), Lock, Stock and Two Smoking Barrels (Ritchie, 1998), The Krays (Medak, 1990), Sexy Beast (Glazer, 2000), Cass (Baird, 2008) etc. NYU London: Spring 2020 22/02/2020 Field trip: Saturday, 22 Greenwich Film February 2020 Walking Tour 12:45pm- 2:30pm Meeting Point: 12:45pm Visitors Centre | Information Desk, King William Walk, Greenwich Peninsula, London SE10 9NN, United Kingdom Screening Guest Lecture: Essential Readings: Topic 3 for 24/02/2020 Group Blow Up (Antonioni, Jordan Mcgarry: Film -Robert M.
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