MA Film Studies  MA Film Studies Anglia Ruskin University ../webroot/files/Institutions/cover_photo/1533722015Anglia-Ruskin-University.jpg

This exciting course offers you the opportunity to explore a range of films (mainstream, experimental, international, past and present), and to discuss many of the key critical debates, concepts approaches and contexts that are important to this subject. Our study facilities are outstanding, with an expanding collection of books, journals and films in the campus library. There are several designated screening facilities on campus with DVD, video and 16mm projection facilities. We enjoy strong and productive links with the cinemas in Cambridge (mainstream and art house), providing opportunities for work placements and participation in special industry events, such as the internationally renowned Cambridge Film Festival. Our course draws upon the expertise of distinguished scholars of film with strong research profiles in a range of areas. Core modules will cover key developments in theory, history and technology, and topics may include: cinema and the transnational cinema, sexuality and the post-human cinema and the visual arts the new extremism: and contemporary European cinema How the MA is Organised The MA in Film Studies consists of four taught modules taken over one year by full-time students or two years by part-time students and a Major Project produced at the end of the taught part of the course. Teaching runs in two 12 week semesters from September to December and February to May. Each module meets weekly for the duration of the semester for one two-hour seminar. Classes are currently scheduled on Mondays from 6-8pm and Thursdays from 6-8pm. Modules The Projected Image: Cinema and the Visual Arts Addresses the interaction between cinema and the visual arts in an attempt to uncover some affinities between the two areas by looking at common themes and approaches. It examines the critical, aesthetic and historical issues that have shifted practitioners in the traditional visual arts (painting, sculpture) towards cinema, and filmmakers toward the visual arts and the gallery as an exhibitionspace. You will have the opportunity to consider how the influence of visual art has informed the work of filmmakers like Carl Dreyer, Michelangelo Antonioni, and Derek Jarman, and how cinema has informed artists like Hiroshi Sugimoto, Jeff Wall, and Andy Warhol. Topics for discussion include: cinema and landscape, tableau and cinema, cinema and colour, the relationship between the still andmoving photographic image, avant-garde film, and the role of artist film and video. Cinema and the Transnational Allows for close study of those films, film-makers and film-making contexts that exist outside Hollywood. It involves a focus on up to four regional film-making contexts (African, Latin American, Middle East and Asian Cinemas), and considers both local conditions and relationships with other cinematic environments. The idea of the transnational offers a useful approach to understanding the success or otherwise of certain so-called national cinemas and film-makers on the global stage, and to their investigations of issues of identity. The exploration of transnational activity in cinema includes a critical address to the cross-border travel of directors and stars, research into new funding projects that draw on a range of sources, and the proliferation of film festivals and technological advancements that give rise to exciting and creative collaborations. Global power politics are addressed, as are themes such as the relationship between cinema and political conflict. Cinema, Sexuality and the Post-Human Addresses the issue of the ?post-human? body in contemporary cinema, positing gender, corporeal materiality, sexuality and politics as volatile terms useful in defining and disrupting traditional notions of agency, volition and self-representation. In what sense can these terms be important toward thinking a future for the body, gender and sexuality? This question is addressed through two streams: the representation of the post-human in ci