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September 1999, Week 3


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Mon, 20 Sep 1999 23:17:53 +0300
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Thanks to all who have replied so far! Great suggestions, really!
Some more clogging the mail boxes - apologies for the squeak; I should
have posted this together with the first CFH, maybe...
Fact file: I could possibly ensure the videorooms  -only  2 -  (hosting
either 15 people on headphones-cum-vodeo), or up to 50 on small-size
video-wall for up to 3 hours a week; so that sets the limit. Last year I
experimented with sort of a free-attendance screenings which,
unexpectedly, attracted 100+ (against my pessimistic estimate of 10-15)
students crammed in a room. They said they came for the discussions
afterwards, not so much to see the films, which can also be rented
individually at the BritCouncil library. The response is extremely
encouraging, but the resources are scanty. I don't know what would be
the best way to optimise?
Re: two titles on the list that (may) have raised eyebrows: "The Piano"
has been suggested by a British colleague who promised to do the
presentation herself; "The Full Monty" has been offered on the argument
"you can't understand Britain without Monty". As we haven't got it in
the centre, I still have no personal opinion on that; deconstructing
myths in the Irish "Crying Game"
The *aim* is to provide a variety of viewpoints on a variety of issues;
that is, the "group screening" should be the "departure points",
including titles which set an issue, and, in case anyone is interested,
they could go on and watch - individually - other films dealing with
this topic; or, horizontally, explore the same director's work on other
topics. My task is to keep the flame burning, but, i am not sure i can
and know how to do it right. And, yes, I am panicking. So all your help
is really, really, great! Another consideration is that some students
just cannot afford to use the library facilities...
The topics covered in the "theoretical" part of the module that have
relevance to(but, ideally, should not limit) the selection of titles
* Working class culture and subculture
* Regional variations and identities: "drawing cultural maps"
* The feminist perspective
* Approaching the study of subcultures
* Youth subcultures and styles
* Thatcherism amd its influence upon cultural developments in the 1980s
( is it too early to talk about Blairism?)
* American and Australian perspectives (by the touchline: "Brave Heart"
as a puzzle profitting on Scottishness, starring an Australian-born
American shot in Irish scapes?)
* BalkanWood?

This is by no means a specialised film studies programme
(unfortunately); it's been conceived as supplementary to a mainly
theoretical course :-(((
Thanks again!

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